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HZ

w

So^ann Wolfgang WDetQc

'ジ AidUUiUU

GOETHE© POEMS

丄

SELECTED AND EDITED
WITH INTRODUCTION AND NOTES

BY

CHARLES HARRIS

Professor of German in Adelbert College of
Western Reserve University

BOSTON, U. S. A.
D. C. HEATH & CO., PUBLISHERS

1899

Copyright, 1899
By D. C Heath & Co.

Printed by Carl H. Hbintzsmann, Boston, Mass., U. S. A.

3 s

9

/b ヲ

'A

k/W んん ふ/

PREFACE.

In the preparation of this selection of the poems of
Goethe, arranged in chronological order, my desire has
been to furnish a commentary which shouia give the
necessary explanations of words and phrases and also
the history of the origin of each poem, so far as this is
known. Nothing more has been attempted. No excursion
has been made into the fields of aesthetics, and there is
no discussion of any of the fascinating problems which
arise in the study of the great master; but even within
its narrow limits the book must assuredly be very imper-
fect.

The text is that of the Weimar edition. There are
no intentional changes in the wording. In the matter
of spelling and of the use of capital letters the Prussian
rules, have however been followed, and the punctuation
has here and there been altered slightly, commonly by
the more frequent employment of the comma.

Charles Harris.

Cleveland,
September, 1899.

iii

CONTENTS.

PAGE

Introduction xi

(5ebt(^te.

1. 3n bad Stammbud^ Don grlcbrici^ SWajrimilian Tloov9 . 1

2. %n S3c^riJ(i^ 1

3. S)cr SWifant^rop 2

4. 續 (f uub Zxanm 3

€ ntd)\d 3

6. S)cr 3lbf(^icb 4

© SSiafommcn unb 2lbfc^lcb ,レ 4

8. TOt clncm gematten お cmb 6

^ SWailicb , . , , レ 6|

10. @tirbt bcr ゆ 《, (o gilt bcr お atg 8

11. S31inbc ^u^ 9

^ $etbenr5dletn . , グ. 9

13. SigeunerUeb 10

14. S)cr SBanbrer 11

15. ©at aUee feinc 3eit 18

16. ©Ucttant unb ^rititcr 18

Qp 2)aS お d ゆ en 19 '

® ！ 5)er ^antg in St^ule 20 '

19. ®eifle«^@rug 21

20. 2)ine jtt ^obietij 22

21. i^ag regnen, mcnn c« regnen wiU 23

(23) Sin ^d)tvagev ^rono9 、" 23

23. ©cnbfd^rcibcn ...... 25

^ «Promct]^cu« 26 一

^^fReue Sicbe neue9 ？ cben 28

26. 3w ben Scibcn bed jungen Scrt^cr« • . , , . 29

27. luf bcm @ec 30

28. SSont お erge 30

V

it

vi

CONTENTS.

bag er am

Me ticfcn

29. お uttbeSUeb .

30. 脑 き rf . .
31. 2(n cin go(bne9 $crg,
32. 3a9cr8 ^benbUeb
33* In mi , ,

*^ 2Banbrcr« ^^ac^tlteb
( 35^ Sarum gabU bu ims

36. SlafHofc ？ icbc .

37. ©infd^rdnfung .

38. @ccfa^rt . .

39. ^offnimg ♦

40. Sicbcbcbilrfni« .
(4}) gclgcr ©cbanfcn

42.^$argr«ife im ©inter
+*(i3i 3ln ben aRonb ,
©rabfd^rift. .

®efang ber ®ci|lcr iiber ben SBaffcrn
47. ほ 8 njar ein fautcr @(fiafer

• (4g> 28anbrcr8 ^^ad^tUeb

49. Sin ？ iba . .
や @ (Srlfonig , .
"- \ 51. 2)ag ©bttUd^e .

52. 2)cr ©finger ♦

• C5^ 2)cr ^arfcnfplclcr
， S)crfelbe

55. 3lnicnau

t3ucignung
iWignpn
― 'v58. 2)icfclbc
に 5 あ 3)iciclbe

60. 3)em %devmam

61, お erf ゆ iebene @mpftnbungen
； 62l' @r|Ur ^evinfl •

63. ©entaltfd^ Xveihen
r- 64. 级 tt ben ^ergo9 ^avi ^ugujl
65, Stmor aid ？ anbfd^aft«matcr

ま

on

etnem

trug

CONTENTS.

vii

PAGB

66. 怨 e き ttteb aunt Xan^t 78

67. Sin bie entfcrntc 79

68. おゆ erjigimg 80

l^JS^ @rinnerung 80

70. ^op^tifd|e9 5icb 80

71. @pigrantnte. SSencbig 1790 81

72. gem Don gcbilbetcn SD^enf ゆ en, am (Snbe bed ^ti(S)e9, totx

り itft tn6) 84

73. S)lc @ゃ曲 84

74. S)ic S3e!e^rte 85

75. S(n bie ©rmtf^tte 85

CSSi 9^ci^e bed ©eliebten 86

77. Tleevt^ ©titte 87

78. ®mdli(i)e ga^rt 87

^000^9, 3((eari8 unb 2)ora . . , . . . . 88

80. Xcnicn 93

81. S)er (S^inefc in ^ftom 94

82. S)cr ©c^atjgrciber 94

+83. In ©(fitter 96

84. S)er 3aubert ゆ rttiig 96 -

85, 2)cr 3unggefeII unb bcr ^^R^\had) 100

86. ^d)tt)eiievaipe 102

87. ！ 5)ic iStufageten ♦ 102

88. Sill bic ©flnfligcn 104

89. grii^gettiger grii^Ung 104

90. ©d^afcrS ^(agelieb 106

9JL 2： 賴 eb 107

(92^ Sf^atur unb 虎 uttfl, fic fd^cincn fid^ ju piemen . ♦ ,109

93. $od^gettUeb 110

94. S)cr 9{attenfanger 112

95. ^crgfd^tog . . , , 113

96. Vanitas ！ vanitatum vanitas ！ . . . . , . 115 *- -

97. ^ep^t{lopI)eted fprit^t 117

98. aWfi ゆ tiges Ubcrrajd^cn 118

99. 3)ic tebenbe abermald 118

100. 3n bad ©tammbut^ ber ge^njia^rigen ©er ゆ a toon ？ ober 119

101. Ergo bibamus ！ 119

viii

CONTENTS.

PAGE

102. S3(untcngru6 121

103. aWailicb . . • レ 121

104. !5)ic ？ uftigcn »on SBcimar 122

】05, 2)cr Sotcntanj 122

106. ©chjo^nt, get り cm 124

107. 2)ic njanbclnbc ©lotfc 126 —

4-108. ©cfunbcn 127

109. @lcid^ nnb gteid^ 128

110. @pfit crflingt, ttms frill^ crflang 128

111. tiaffcr 128

112. ®ott, ®cmftt unb SScIt . . . • •. , .128

113. <Bpvid)tt)Ml\6) 129

114. (Spigrammatitd^ 132

115. gilnf anbere 134

116. ^)cgirc 134

117. @inlabung 136

118. mbgUd^, bag ？ icbd^en, bid) ！ ojc . 137

119. S)ie 2Be(t burd)aud i 卩 Ueblic^ angufdjauen . . 137

120. ^omnt; Sicbc^cn, fomm ！ umnjinbc mir bte SWfl お e! . 137

121. (Sin Waiter り atte gn^ei ^ajftcrc 138

122. ©cftanbnls 138

123. 2Btn! 139

124. 2Bcr tDirb tjon bcr 3Bc(t わ erlatigen , . . 139

125. 2)ic $crlc, bic bcr 2Ru|d)eI entrann . . . 140

126. patent 140

127. 2(n tooUcn ©afd^cljnjclgcn 141

128. 2Bo man mir ®ut« crjcigt, ilberatt .... 141

129. 3cnc garfltge SScttcI 142

130. @^mbolum 143

131. 2)cn 6. 3iini 1816 144

132. 5ln 3(lej:anber »on ^umbolbt 145

133. お attabe 145

134. Urn 冊 tterti— t 148

135. 3(n graulein »on ©(fitter 149

136. gintag 150

137. ？ uft unb Cuat 151

138. SBcnn ic^ auf bem Wlavtit gc^ 152

CONTENTS.

5x

PAGE

139. ！ £)u gingft t)ovilbcr ？ Sic ？ ゆ fa り bid) nid^t ... 152

(u^ aUQit 153

141. @(^lo6 ^cltocbcrc in bcr ^benbfonne 158

142. «Ub bc« cttcrlidjcn ^)aufc8 gu granffurt am SWain . 158

143. 3m ernfien ©ei ゆ auS rt)av% too ゆ befd^aute . • 159

144. Ocbid^tc jtnb gematte gcnftertt^cibcn ！ .... 160

145. 3a り nte 3Ecnicn 160

146. ！ £)cr Mndnd mlc hit 9{ad)tigatt 168

U7. 3)ic ptfle greube njottt ゆ r ftbrcn ？ 168

®cm aufgc^ciibcn ^ottmonbe 169

149. 2)ornburg, September 1828 169

150. @clbp erfinbcn iji fd)5n ； boc^ glucfdc^ わ on anbern @e-
funbncg 170

151, Sin bic futifs ゆ It grcunbe in (Sngtanb .... 170

152, «urgcr^)f[^t 170

Notes 171

Biographical List of Persons Mentioned in the Poems

OR Notes 276

Index of First Lines 283

f

INTRODUCTION

Goethe's minor poems, the field in which he is greatest, may
be best appreciated and enjoyed, when the circumstances which
called them forth are known. They are so much a part of his -
life that they should be studied in connection with it. His
lyrics, ballads, and other short productions in verse, in which
sense the word poems is used here, are bound up with his own
emotions and experiences in a very unusual degree.

This is a fact of which he was fully conscious and which he
mentioned more than once in his writings (see, for example,
Selections 88, iio， 145， 22). From the days at Leipzig on, he
felt impelled to turn everything that rejoiced, tormented, or
occupied him into verse in order to have done with it. Thus,
all that he wrote was, as he expressed it, fragments of one great
confession (SScrfc, XXVII, 1 10) .

The action and reaction of poems and life have been so folly
realized by students of Goethe that they have dated and inter-
preted many a poem correctly, as later investigations proved,
by finding some happening in his life or some passage in a letter,
which reflected the same situation or expressed the same senti-
ments. This process of comparing him with himself and of
interpreting him by himself has yielded the best results in the
past and has by no means lost its value.

Ihis does not mean that constant reference to Goethe's
biography is necessary to make the poems intelligible. With-
out such aid they trained and uplifted his contemporaries and
may serve the same office for the world to-day. Nevertheless a

xl

xii

INTRODUCTION.

knowledge of the outlines, at least, of his life and of the partic-
ular circumstances of the origin of the individual poems is very
desirable. While a commentary may do much to meet the
second of these wants, it can help little to give that broader
outlook which is advisable, for the more intimate the reader's
knowledge of the life is， the keener will be his enjoyment and
the juster his appreciation of the poems.

It is evident that the chronological order has advantages,
which far outweigh its disadvantages, in books like this, which
are intended merely to be introductions and to prepare the way
for the better comprehension and appreciation of Goethe's great
achievements. We may say of many of the poems that they
came into being of necessity just when they did, that an earlier
or later origin would have been impossible. To study them,
therefore, in their relations to what preceded and what followed
them is the way to comprehend them best.

In fact, as the study of Goethe spreads and he becomes more
and more the great lyric poet, not merely of Germany, but of
the world, the desirability of the chronological order increases.
The day of the satisfactory arrangement of the whole of the
poems has, however, not yet come, as there are still too many
unsolved problems in the field of Goethe investigation .

It is, of course, not true that all that Goethe wrote, stood in
such close relation to his life. Many of his proverbs and epi-
grams and also part of his poems dealing with art, science, and
the like, for example, are obviously without such connection.
Even in the case of lyrics and ballads he sometimes sought his
inspiration elsewhere or wrote without it, particularly in his
latter years ； but such productions can not generally be con-
sidered among his best.

Many of the poems, however, which appear to be wholly
objective, originated in personal experiences. Sometimes this
seeming objectivity is due to revision ； more often, it is caused

INTRODUCTION

xili

by the characteristic manner in which he worked. For example,
even those lyrics which are most evidently based on personal
experiences, were not, as a rule, written when the stress of
emotion was greatest, but at a slightly later time, when the crisis
had passed and calm was returning. At such periods he could
look back upon his former state as something apart from him
and could sing of his recent self, as though he were another.

This is one of the greatest of the gifts with which he was en-
dowed. Through it the most subjective of poets has become
one of the most objective. He has that power to move hearts,
which comes from personal experience, and yet is saved from
the tendency to sentimentality, which is the peculiar danger of
the subjective poet. He has the poise, the balance, the self-
control of the objective poet without the risk of his coldness.
Nature sought to give him the advantages of both without the
disadvantages of either.

It is easy to divide Goethe's life into periods. Its course is
marked by certain salient points which the biographer can
hardly avoid making the beginnings of new epochs. The same
classification is not wholly improper for the poems and is fre-
quently used. And yet the strongly marked divisions into
which his outward life so naturally falls are less evident in his
poems than elsewhere.

It is very questionable, for example, whether the period of
@turm unb 3)rang with its accompanying literary lawlessness,
which is so evident in ③ i5 き, would be noticed at all in the poems
of that time, if they stood alone. There is somewhat more of
tumultuousness in the thoughts, of boldness in the themes, of
the glow of passion in the style than was usual a few years later.
All that might be passed over unheeded, however, if his bio-
graphy and his other writings did not lead us to look for it.

The transition to Weimar, which is so strongly marked as the
beginning of a new period of his life, leaves not a trace in his

xiv

INTRODUCTION.

poems. On their evidence the reader could never be made to
feel that a great change had taken place. The first months at
Weimar are rather a continuance of the last at Frankfort, so far
as the poems are concerned, and the change, which undoubt-
edly came, was later. The Italian journey, so pronounced as
an outer mark in the poet's life, is in no way characteristic of
his poems, except perhaps for the dearth of them in those
months. The strong classic tendencies of which it is supposed
to be the token, really began before and culminated afterwards.

On the other hand, the poems might more justly be divided
into smaller groups, representing briefer periods, which the bio-
grapher is not so wont to notice. Not infrequently a few lines of
verse might be considered the summary of a brief period.
Often a single lyric marks a cast-off emotion of which the poet
had written that he might be done with it. In view of the
multiplicity of such periods and their failure to coincide with
the more noticeable events which the biographer properly
chooses for his classfication, it is juster and more accurate to
leave the poems without division.

The fact is that it is not proper to speak of development, in
the ordinary sense of the term, in Goethe as a lyric poet after
the days at Strassburg. From that time on there was often
change of interest and of theme, but it can not be truthfully said
that the poems grew greater or better. Goethe came at one
bound to the full maturity of his power as a lyric poet, and
nothing that he produced in after years was better than the best
of his Strassburg period and the months immediately following.

He excelled in one phase oi his poetry at one time more than
another ； he showed evidence of awkwardness in the use of
some metrical forms as he began to employ them and gained
greater skill through practice ； he developed interest and power
in certain lines of thought and certain themes which were
foreign to him previously ； his views of life became in many re-

INTRODUCTION

XV

spects sounder and maturer ； but all this is very far removed
from what we ordinarily call development. There was no
steady advance towards the better and a culmination later in
the best. His best and his worst may be found at almost any
period of his life, from the days at Strassburg to the time when
old age made itself manifest.

There have been few men more industrious than Goethe ；
few also, who have waited more on inspiration. He was fond
of expressing his manner of working, the way in which his
poems came to him, by the word 5lnf(^auung. The moment of
clear perception, of inspiration, might Come swiftly. Again he
mie^ht be compelled to carry a theme about with nim for a long
time, waiting for the inspiration which came taraily or perhaps
not at all. His first interest in a subject was not always due to
his own experiences. It might come to him in one of various
ways, particularly from his reading, for Goethe, like Shakespeare,
was in more respects than one "a sturdy borrower." But
whatever its origin, it became his own and sought expression.

Such a poet had necessarily his times of extreme productivity
and other periods in which few poems came into existence.
The months in Italy are' a noticeable illustration. Full as they
were of all manner of instruction and profit, crowded as they
were with notable achievements in other fields of his literary
activity, they show almost nothing in the way of minor poems.
Many another, though briefer, period of like sterility, so far as
his, lyrics are concerned, could easily be pointed out. As a rule,
the poems of the times of greatest productivity are the best. A
chronological arrangement must necessarily reveal large gaps
and show that the flood of his lyrics advanced by leaps and
bounds rather than as a steadily-flowing stream.

As we have already seen, many of Goethe's poems are his
own outlived thoughts and emotions turned into poetry. They
thus stood for an extreme phase or crisis, which might never

XVI

INTRODUCTION

return. They were truth itself for the period which they repre-
sented, although they might be the strongest contradiction of
what came to him later. They were a necessity of his being,
for in np other way could he lay the ghost of a thought or an
emotion. His method of procedure explains such remarks as
the one quoted in the Notes concerning his SScftsiJftltd^cr 3)tt)an
(see page 252 below) .

Therefore, he who looks in Goethe's poems for a system of
philosophy or a code of well -digested, consistent thought is en-
gaged in a vain search . He finds rather a bundle of inconsist-
encies, for he finds life. Many of the poems, as the outcome of
personal experiences, are merely the extreme expression of an
all-dominating idea which seeks outlet, regardless whether it is
in harmony with the convictions of yesterday or whether to-
morrow's may not give it the lie.

Nor does Goethe always show perfection in the metrical
construction or the rimes of his poems. Even the most inex-
perienced can detect lines which scan improperly. Careless and
imperfect rimes may be found as easily. Often a poorer poet
might be more correct. And yet Goethe's seeming carelessness
and inaccuracy are frequently the better art which refuses to
neglect sense for sound or is cognizant of the higher harmonies
of a language.

So conscious was he of the harmonious movement of his
poems that he had constantly in mind the musical effect of his
lyrics and ballads. It may be truthfully said that he has literally
sung his way into the hearts of the German people. Musical
composers both great and small have shown their appreciation
of this quality of his poems by setting so many of them to
music (in the case of a few scores and scores of times) . That
the impulse has not spent its force is a matter of common
knowledge.

The surest evidence of the increasingly large space which he

INTRODUCTION. xvii

is occupying in the thoughts of the world is the rapid growth of
the literature concerning him. His poems have come in for
their share of comment and explanation. 1 his study and in-
vestigation have not been without results and find their justifi-
cation in Goethe's own words concerning ancient and modern
poets, as found in one of his proverbs :

!5)enn bei ben aUen lieben $oten
^raudjt man ^rlldrung, \t>iU man 9h)ten;
S)ie yitutn glaubt man blan! gu わ erfhl^ti;
2)od^ ol^ne ！ 3)oImetf(^ ttJirb'S audi nid^t ge^n.

oO'^^Cho

1. ； 3 れ Stammbtidt
von gvUbvidt Ula ぎ imitian TKIoovb^

5ranFfurt ben 28. Jtuguji 1765.

g« り at ber 9lutor, totm er fc^reibt,

©0 ettoag ®ett)t[fe«, ba さ t^n tretbt,

©en SErteb ^tf auc^ ber SHe^anber

Uttb all bie §elbcn mtt emanber,

！ ©rum fc^rcib' ic^ auc^ at [り ier mtc^ em : — 5

Q(t) mocf)f tttc^t gem Dcrgeffen fein.

2. Un Bel^rifd^*

！ gc^ft! murre.
® ゆ！ (a§ mic^ murrcn.
g]^r(tcf)er JWann,
J^fic^c biefe さ ganb.

SEotc @Umpfe, 5
！ iDampfenbc Dftobcmcbcl
SScrtDcbctt i り re 2lu«pffe
©ier Uttgertretittlic^.

(Soet わ es (Sebtc^te

©cbarart

®cf)abltcf)er ^ftifeften,
aW5rberf|uUe

9lm fd^ttfigtcn Ufcr
giegt bte tDoIIttftigc,
SlammcTiflejilnflte ©d^Iangc,
®eftreicf)clt t)om ©onnenftra^L

き Ke り e fanfte Stad^tgftnge

bcr 2Konbenbammcrung,
Sort ^alten jutfenbc S^rotcn
3ufaTnmcnIUnfte auf ^cujiDcgcn.

©d^aben fie ntcf)t,
SBcrben fic fc^retfcn.

vlx6)tx 3Kann,
gliel)e btefc« 8anb!

3. 5er ntifantlirop*

grft fifet cr etttc ©etfe,
！ Die @tim り on ©olfen fret;
9luf etnmat lommt in ®Ke
©cin ganj ®e[icf)t bcr gute
aScrjcrrtcm gmftc bci.

».

@ie fragen, ttmS bad fet?
8teb' obcr gangciDcilc.

^6), fie finb ，さ atle jtoet.

(Soett^es (Sebtc^te

4. iStflcf un5 tZvaum«

S)u ^aft un« oft im Sraum gcfc^en
3ufammen き um Slltare ge り en,
Unb b ゆ ate grau unb mid) ate SWann.
Oft nal^m id) m^tnh betncm SDhmbe,

cittcr unbctt)ac^tcn ©tunbe,
®o り iel man ^ilffc nc^men fatuu

！ Dad rcinftc ®iM, bad toxx ent^jfunbcn,
！ iDte aBoCuft mand^er rctd^en ©tunben
}Siof), tt)tc Me 3eit, mtt bent ®etiu§,
a3a« 術 t e« mir, ba^ td^ gcnie^e ？
95Me iraume flie^n bte toannftcn ^ttffc^
Unb aHe grcubc tok em ^u§.

5. IPeci^fet*

5luf Stefcin im Sacf)e ba lieg， id^, toic l^cHc 1
SSerbreite bic 3lrme ber lommenben SBellc,
Unb bu^Iertfd^ briitft fie bic f ゆ tienbe S3ruft ；
！ Dann fu^rt fie bcr 8etcf)tfmn im @trome bantcber ；
(S« nalft fid^ bic jtDcite, fie ftreic^ctt mic^ toieber :
@o fii り I， x(f) bte tjreuben bcr toet^felnben 8uft.

Unb bod^, unb fo traurtg, Derfcfjlcifft bu わ ergeben さ
*I)te foftlicfjen ©tunbett be さ cilcnbcn Scben^,
SSScil bid^ ba さ gcltcbtefte SWcibd^cn Dcrgigt!
O, ruf fic juriidc, bic t)ortgcn 3eHett ！

lu^t fid^ fo fUge bte 8i 忡 e ber 3tt)ctten,
5n さ laum fid) bic gippe ber grftcn gefUgt.

(5oett{es (Sebt^te.

6. 5er Ul^fd^ie^

8a6 tncin 5lug， ben 5lbfcf)icb fagen,
S)cn metti aWunb nid^t ne り men fann!
®cf)tt)cr, ttJte fd^iDcr tft cr ju tragen ！
Unb id^ bin bod) fonft tin aWatm,

Jraurtg toxxb m biefcr ©tunbc
®e(bft ber gtcbe fii^tcd ^fanb,
Salt bcr Slt§ t)on beinem SJhmbe,
aWatt ber 35ru(f t)on beincr る anb,

©onft, etn fe ゆ t gc[to1^Ine« SIKauld^en,
O, ttjte l^at e« mid^ cntgudt ！
©0 erfreuet un さ em SSettc^en,
5Da« man frill) tm aWfira gepptft.

5Docf) id^ ppde nun Icin trSnacfien,
S^etne $Rofe me り r fUr bid).
き rii り ling ift e さ, ttebe« griingd^cn,
5lber letber ©crbft fflr mid^!

7. IPintommen unb Ub^dticb.

g さ fcf)tu0 mem ©erg, gcfd^toinb や ferbe!
g さ mx get り ati, f aft e り， gebadjt ；
IDer Slbcnb ttJtcgte fd^on btc 6rbe,
Unb an ben Sergcn l^tng btc SRai)t:
®c^on [tanb im ^Mtkxh bie (Sid^e,
Sin aufgetarmter $Rtcfe, tm,
933o き inftem お au さ bent ©eftrauc^e
2Kit ^unbcrt fd^toargen Slugen fa^.

<5oeti)es (5ebid?te

5

SDcr 3Kottb Don tmm a33oIfcnf)tigct

©al^ fliigli ゆ au さ bem ！ Duft l^crDor, lo

5Dic SBinbc f ゆ ttjangen leifc gliigcl,

Umfauftcn f あ auerii ゆ mcin £)\)x;

！ Die ゆ t fd)uf taufcnb Ungcl^cuer ；

5Dod^ frif ゆ unb friJl^li ゆ ttjar mcin Tint:

Sn meinen 2lbcm tot\6jt^ き euer! 巧

Sn metnem ©erjen tDcIdic ®(ut!

5Dt(f) fat) id), unb bie mtlbc grcubc

gIo| Don bem [ii^en Slid auf tntdi;

®anj tt)ar mein ^erj an bctncr ©cite

Unb |ebcr Sltcmjug fiir bitf), »

gin rofenfarbnc^ き rUl^Ihig さ tcetter

Umgab ba さ liebKtfic ®efi(f)t,

Unb 3artlt(f)fcit fUr mid) 一 if)r mttevl

Sd) f)offf e さ, id) mbknf c« nitfit ！

5Do ゆ ad), fd^on mtt bcr 5DZorgenfonnc 25

SSercngt ber 2lb[d^icb tnir bad る erj :

Sn bcinen ^Uffcn tDcItfie SBonne ！
beinem 3lugc tDcItfier ©d^tnerj I
fling, bu ftanbft unb faf)ft gur grben

Unb fa り ft mix md) mit naff em Slid: 30

Unb bod), tvd^ ®IUd, gettebt ju tDerben ！

Unb licben, ®5ttcr, tvctd) ein ®IU(f ！

8. TUii einem gemaUen 8a ま

tteine «Iumen, fleinc mttcv
©treuctt mix mit kxd)tev @anb
®ute jungc き rii り ling さ giitter
^anbclnb auf ein lufttg ^axtb.

<5oe ゆ es <5ebt(^te

S^Wf nimnrt auf betnc 柳 get,
©d(|Ktt9， さ urn tnctncr liebftcn ^tetb ；
Uttb fo trttt pe t>ox ben ©ptegcl
湖 in tl)rcr SRunterfcit.

©i ゆ t mit $Ro[cn [x6) umgcbeti,
©elbft tt)ie etne $Rofc iung.
Sinen Slid, gefiebte さ Seben ！
Unb x6) bin be(of)nt genung,

き り k, Me さ §erj ettn^finbct,
JReid^e fret mix beme ©anb,
Unb bad S3anb, tm さ un さ Derbmbct,
®ct fcin [d^tpadied JRofcnbanb.

9. mailicb.

SBic l)crrlt(f) leud^tct

aJHr bic 5«atur!

SBic gldnjt bie ©onne ！

Sajic Iad)t bic glur!

S さ bringen SlUtcn
2lu さ jebcm 3meig
Unb taufetib (gtimmcn
き bcm ©cftriiud),

Unb き rent), unb SBonnc
2lu さ jebcr Sruft
O (Srb,, ©tmne,
D ©lud, 8uft ！

<5oet!jes (Sebt^te.

D 8tcb', gtcbe ！
©0 golbcn [dion,
SSBic 3Korgcntt)oIfen
2luf jcneti ©of)n ！

！ Du fegncft Ijcrrlid^
!Da さ friftfie gclb,
Qm S3IUtcnbaTnpfc
5Dic DoMe SBcft,

D 3»abd)cn, 3»abc^cn,
SBie Ueb' id) M ゆ ！
SBie bitdt bcin St 零 ！
2Bie liebft bu micfi ！

©0 licbt Me gerd^e
©cfang unb 8uft,
Unb aKorgenblumen
5Den ©immetebuft,

SBic icf| bid^ liebc
aJHt tparmcm S3(ut,
5Dte bu mix •Sugenb
Unb ^eub' unb 議

3u ncuen gicbem
Unb Janjcn gtcbft.
©ei ettJtg g 随 id^,
SBtc bu tnid^ liebft!

(Soeti^es (Stbidfit

lO. Siivbi btv 5ttdis, f ク gilt ber Bal^*

92(u^ STOittagc fa ま tort
き 零さ aSolf tm 卿 fen ；
amor ！ am, unb fttrbt ber gut^^
SBoHf cr tnit 誠 [ptclciu

Sebcr tneittcr grcunbc fa§
gro^ bci fcittctn ^crjdiett ；
Sbnor blie^ hit gadcl au 各,
©prat^ : ©ier ift ba^ ficrjt^eti!

Unb bte gttdel, ipic fic glomm,
8ie§ man eilig toanbem ；
Sebcr briirfte 卩 e gcft^lPtnb
3n bic §anb be さ anbcnu

Unb mix reiditc S)orUi さ
®ic mit ©pott unb ©c^er je ；
^aum berii り rt mem Singer fie,
§ett ctttpammt bic ^erjc.

©etigt mir Slugen unb ®efi(^t,
©efet bte Sruft in き lammett,
tiber meincTn §au}3tc fd^Iug
き aft bte (Slut jufammen.

gofd^cn tooUV i ゆ, pat\6)tt }U ；
5Do ゆ e さ brennt beftaiiiig ；
©tatt in fterben, mxh ber き lu^ 各
JRcd^t bei tnir (ebenbig.

<5oetI)e5 (Sebidfit,

11. 3litU>e littt^

D (tebltc^e Jl^crcfe ！

SBtc tpanbed gleid^ ind 535fc

5Dein offne さ 3luge fid^I

！ Die 2lugen gugebunben,

©aft bu mx6) fdjucD gefunbcn,

Unb ttmrum fingft bu eben mitf)?

5Du fagteft mi ゆ auf« bcfte
Unb l^ieltcft mit^ [o fcfte,
•3 ゆ fan! in beinen ®6)o%
fiaum tparft bu aufgebunben,
SBar aUe 8uft Der ゆ unben;
5Du (tegcft 請 ben S3Imben ま

@r tap))te l^in unb tpieber,
3Scrrenfte faft hit (Sficber,
Unb alle f 昨お ten ゆ n*
Unb iDiHft bu mi ゆ ni^t liebcn,
©0 り， i ゆ ftet さ im S^rilben
SBic mit tjcrbunbncn Slugcn l^in.

12. 巧 eibenv3sleiit,

©a り cttt ^aV em 9?5 さ kin ft ゆ n,
9l5^lem auf ber ©eiben,
SBar [o jung unb Tnorgenftf)5n,
8icf cr [(fincO, e さ nafj }U fcl)n,
©aiy さ mtt Dielcn greuben.
9lo«Icin, $Ro«lein, Sio^lcin rot,
9?5«tcin auf ber ^ciben.

(Soctljes (Sebxdfit

^abe fpracf) : Qi) brecfje bitf),
9W さ leiti auf ber §ciben ！
9?5 さ lein fprad^ : [ted^c bid^,
5Da5 bu cttjig benfft an m ゆ,
Uttb xi) tt)itf^ ttid^t leibcn.
aeo^Iein, 9?5^Iem, 9?5^Icitt rot,
さ km auf ber ©eiben.

Unb ber tt)Ubc ^abe brad|
，さ さ lein auf ber ©eiben;
9Wi さ lein iDel^rte fief) unb ftad^,
§alf tf)m bocfi fetn SBet) unb 21 ゆ
2Bu^f e さ eben Icibcn,
JRo^Iein, $R5^Iem, JRo^fein rot,
9?5dlem auf ber §eibcn.

13. 5ideunev(ie5«

•3m 9tcbctfleriefel, tm ttcfcn ©d^ncc,
•3m tDtlbcn SBalb, in ber SBintemadit,
•3 ゆ t)orte ber SBoIfe §ungcrget)eul,
Sd) i)Mt ber gulen ®ef き ei :
SBiOe tt)cm ttmu iduu 1
SBtHe tt)o tpo tt)o!
mto f)u!

■3 ゆ fd^o§ einmat cine fiafe， am Brnm,
！ Der 2lnne, ber §e め ゆ re f ゆ nmrje liebc ^afe, ；
！ iDa fatnen be^ Slad^t さ ficbcn SBemoIf }u mtr,
SBaren ficben, fieben SBeiber Dom ！ Dorf,
SBtllc mu mn nmu!
SBiHc too too too 1
mto \)Vil

(Soetf^es (Sebtd^te

Q6) fanntc fie atf, itf) fanntc fic tt)o り K,
5Dtc 3lnnc, Me Urfct, btc «at り，，
！ Die 8iefe, bte S3arbe, Me bit 53ct]^ ；
®te l)eultcn tm toifc tnttf) an*
SBitte mu mu mul
SBiCc m too ido!
aSito t)u!

5Da nannf itf) fic aUt bci Stomen laut :
28a« tDtttft tm, 3lnnc ？ ttm さ iDiOft tm, Set り ？
5Da rfittelten fic fid^, ba ftfiiitteltcn pc
Unb Itefen unb l^eultcn baDon^
SBillc ttmu mu mul
SBitte ttjo tt)o tpo!
mto \)Vil

14. Her tt><mbvev,

XOanhret.

®ott fegne Md^, junge gnm,
Unb ben fiiugenbcn ^nabcn
2ln beincr S3vuft I
8a5 mitf) an ber gctfentDanb り ier,

be さ tUmbamn さ ® (flatten,
5Wcine S3urbe tt)erfen,
5Rcbcn bir au さ rul^tt,

SBcIcf) ©etDcrbe tretbt bicfi
!Durd^ be さ 2agc« 秋
5Dcn ftaubtgen や fob る er?

(goetf^es (Scbtc^tc

S3rm9ft bu SBarcn au さ ber ©tabt
•3m 8anb l)erum?
gatfielft, き rembling,
liber mcine grage?

W anhxex.

Seine SBareti bring' id) au さ ber ©tabt •
Slil^I tDtrb nun ber Slbcnb ；
3etge tnir ben Srunticn,
！ Drau さ bu trtnfcft,
gicbe^ jungcd SBcibl

• §ier ben き rifcttpfab tjinauf,
®e り Doran! ！ Durd^ さ ®thn\i)t
®t\)t ber ^fab nad) ber ©Utte,
5Drtn td^ まま
3u bcm 画 en,
SDcn i ゆ trittfc*

ID an brer.

©purcn orbnenbcr 3Jicnftf)enf)attb
3wtf(f)en bcm ©eftriiudi ！
SDiefc ©tctne l^aft bu ni ゆ t gefiigt,
{Rctd^l|inftreucnbe 9?atur!

SBciter り i 画 fl

ID an brer.

9Son bem 2Roo さ gcbedt em 2lrd^ttraD!

erfennc bicf), bUbenber ®eift!
©aft bcin ®tcge( in ben ©tern gepragt.

<5oetljes <5ebtd?te

SBciter, grembKng ！

IDanb rer.

Sine 3^nfd^rift, iibcr bic id^ trcte!
5Ri ゆ t ju Icfcttl
SBeggctDanbcIt fetb i り r,
S^tefgcgrabne SBortc,
5Dtc x\)x cure さ SDWfter さ 2lnbad^t
JEaufenb Snfetn jctgcn [oCtct.

©tauncft, i^rembfing,
5Dtcfc ©tern' an?
SDrobcn pnb bcr ©tetne t>xd
Urn Tucine ©iltte.

IP an brer.

3)roben?

お ait,

®Ici(f) jur ginfen

！ Du 难 ®cbaf(^ り hum;

ま

ID a n b r e r.

S^x aWufctt unb ©rajien ！
！ Da 各 tft mcinc ©Utte.

H) a n b r e r.

©ne さ 2:cmpc(« Summer!

れ a It,

§icr jur ©cit' f)mab
Quillt ber S3runneti,
！ Den ii) trmlc.

(Soetljes <5ebtd?te,

Wanbtet,

®(til)cnb ttjcbft bu
fiber beinem ®rabc,
®eniu さ！ iiber bir
•3 卩 jufammengcftiirjt
！ Deitt 3Kcifterftud,
D bu Unfterblidier!

SBaif, id) l^ole ba^ ®efa§
！ Div jum Jrinfen.

to a n b r e r.

(Sptjeu り at beinc [d^Ianfe
©otterbilbung umfleibet,
SBie bu enH3orftrcbft
Stu さ bcm ©d^utte,
©ciulenpaar I

Unb bu, einfame ©d^tpefter bort,
aaSie ゆ r,

5Diipre さ 3Boo さ auf bem り eiligen gaupt,
3Bajeftatifd^ trauemb tjerabfd^aut
Sluf bie gertrummertcn
Su euem 綱 en,
Sure ©efd^tDtftcr ！

•3tt be さ Srombecrgeftrdud^c^ ©d^atten

©edt fie ®tf)Utt unb grbe,

Unb り り e さ ®ra さ tDanft briiber l^hu

©d^cifecft bu fo, 9?atur,

！ Deine さ aWcifterftiid^ 2»eiftcrftUd ?

Unem))tinbli(f) gcrtriimmcrft bu

5Dcm ©ciligtum?

©cieft ！ Diftein brcin?

(Soetljes <5ebtd?tc. 15

5tau.

2Bie ber Stiabe fdpft!
SBiOft bu in ber §utte ruf)n,
？ trembling? SBillft bu f)icr 85
8tebcr in bem き reien bletben?
e さ tft fii り I! ^xmm ben き aben,
S)a5 xH) ©after fd^opfen ge り
©c^Iafc, gieber! fd)(af!

to an brer.

@»6 ift beinc 5Ru^!
2Bk, さ, in f)immlifd^cr ®efuttbf)ctt
@(f)tt)imTnenb, ruf)ig attnet!
5Du, gcboren ubcr 9ieften
^eiliger SSergangeti り eit,
9iuiy ゆ r ®eift auf Mr ！
SBeldicn ber umfd^mebt,
aSirb in ©otterfelbftgefut)!
S^ebe さ 2^ag さ gcniegen,
aSotter ^cim Mi ゆ， auf,
S)e さ glangenben き ril り img さ
©errlid^cr ®d|tnu(f,
Unb leu ゆ te Dor beinen ©cfeHen!
Unb tDcttt bie Sfittenplle tt)cg,
®ann fteig' au さ betnem Sufcn
！ iDic DoOe %vn6:)t
Unb reife ber ®onn^ cntgegen.

5rau.

©efepe ，さ ®ott! ― Unb fdpft er no6)?
•3 ゆ f)abe tiid^t さ gum frifd^en 2runf
211 [さ ein ©tiid ^Brot, bad td^ bir bictcn fanti.

90

95

100

105

(5oe ゆ es (Sebxdfie.

VOanhxtt.

•3 ゆ banfe bit.

SBie l)errlid^ alle さ Miil^t umt)cr
Unb grunt I

5rau.

3Kcin 3Kantt toirb balb
3la6j §aufe [ein

aSom gelb. D bfeibe, bleibc, Tlaml
Unb i§ mit im さ tm さ Slbcnbbrot,

Wanbrer.

Q\)v —net l^ter?

5 ran.

！ ©a, jttjifdicn bem ®emttuer l^er.

！ Die ^iitte baute no ゆ mctn SSatev

2lu さ ^^egeln unb be さ ©d^uttc^ ©tctnen.

@r gab mid) cmem Slder^manti
Unb [tarb in unfern Slmetu ―
^aft bu gefc^lafen, liebe さ @crg?
SBie er munter tft unb ftjtefett toifl!
！ Du ©cfielm!

Wanbrer.

^flatnr^ bu ett)ig fetmcnbe,

©tfiaffft iebcn jum ®enu お be さ 8cbcn«,

^aft beine Sinber aUe mttttcrltd^

aOWt grbteil au さ geftattet, cmer ^iittc.

^od^ baut bie (Sd)mtV an bad ®efim さ,

Unfiil^Icnb, tt)el(f)cn 3ierat

@tc Derflcbt :

(Soett^es (Sebt^tc

17

5Dtc JRaitp' umfptnnt ben golbnen Sttjeig

3 謙 SBi まり au さ fUr tf)re S3rut ; 135

Unb bu fitdft gtptftfien ber 9Scrgangcnl|cit

(Srl)abnc 2Wlmmer

き ilr beine S3cburftti[f'

gine ^me, aWctifd^,

®enic§eft iiber (Srabern 1 ― i4o
8eb,tt)o りレ bu ilMlii) SSJeib!

5Du iDtCft nt(f)t bictben?

to an brer.

®ott erl^alf cud},
®egn, cuem Stiabcn!

®I«(f auf ben 28eg! 145

ID a n b r c r.

Sajo^tn fulirt mid^ ber ^fab
®ort fibcm S3erg!

5ratt.

9ta(^ guma.

Wanhvev.

28tc tpeit tff« f)in?

5 ran.

SDrct aWcilen gut, 150

W anbxex.

8eb' は り 1 1

D, (eite meincn ®ang, Slatur 1

18

155

i6o

165

<5oe ゆ es (Sebtc^te.

Den f^emblmg^9teifetritt,

®en iibcr ©raber

^ctltgcr SJergangetifieit

Q6) tDanble,

8eif i り n jum © ゆ ufeort,

SSorm 9?orb geberft,

Unb m bem SWittag^ftral^l

(gin ^appetoalbd^eti tt)cf)rt

Unb fe り r， id) bam

Sim 2lbenb t)etm

aSergoIbet Dom (efeten ©onnenftral^t,
8a§ mitf) em))fangen fol ゆ em SBcib,
！ Den Snabcn auf bem Sinn!

15.

§at atte さ fcinc ^dt
！ Dad 9?a り e tpirb rodt,
！ Da« SSarrne Xdivh faft,
！ iDer 3^unge tpirb alt,
5 S)a さ Salte tDirb ttmrm,

！ Der 9tei(f)e tpirb arm,
®cr 9larre gef ゆ eit,
Sllle さ gu [cincr S^it

16. XUteHdttt tttti> Krltlfcr,

g さ t)atf cin ttiab' einc Saube jart,
®ar fd^on t)on garben unb bunt,

<5oeti)es (Sebtc^te.

19

®ar l^erglttf) lieb, nad^ ^abenart,
©ea^et au さ [cinem 3Jhmb,

Unb り atte fo ^vtnV am ^Subd^en [cin, 5
J)a§ cr n ゆ t fonnte \x(S) freuen attein.

！ ©a lebtc nid^t toeit em 3llt*gutf)^ l^erum*

Srfa り rett unb le り rreid^ unb fd^tpafeig barunt;

！ Der り atte ben ^aben man ゆ ®tunb(ein ergiifet,

3Jiit SSunbem unb Siigen Derpral)lt unb Dcrfd^tDci^t. 10

fM\x^ memcm き uc^i さ bocfi tnein S^dubelein geigcn
(gr lief unb fanb ttjtt ftrcden in ©trttuc^etu
"@ie り, gud^ さ, mein licb 2aublem, mein S^ciub^cn fo fcpn!
§aft bu bcin 2ag fo cin S^aubd^cn gefe り ti?"

3eig， l)cr! 一 ！ iDer ^nabc vti6)t% ― ®cf)t tt)ol)t an; 15

3lber e さ fel)lt notS) numd^e さ bran,

J)te き ebern, gum (g^cmpel, pnb ju furj geraten. 一

!Da fing er an, rupft' fief) ben ®raten*

J)cr ^nabe fd^rie* ― ！ i)u mu^t ftarfre cinfefeen,

©onft jiert ，さ n ゆ t, ftfittjingct ni ゆ t* 一 2o

！ iDa ttjar ，さ nadt ― SD^iggcburt! 一 unb in gcfecn 1

S)em ^naben bad §erjc bri^t.

SBer fid^ erfennt im ^aben gut,
S)er [ei Dor き ttd^feti auf fciner ©ut.

17. Has t^eilck^en.

gin 9SctI(f)en auf ber SBiefe ftanb
®ebil(ft in fitf) unb unbelannt ；
@ さ mx ein t)crgtg'« SSeil ゆ eti.

I

(Soe ゆ es (Sebtc^te.

！ Da fam cine junge ©c^iiferin

aKit lei ゆ tem (S(t)Titt unb munterm ©inn

！ Da り er, ba りば,

Die SBicfc り er, unb fang.

21 ゆ ！ benft bag SSeitt^cn, toax' \i) nur
！ Die ftpnfte お Imne ber 3latnx,
51 ゆ, nur ein fteine さ SBcitt^cn,
S3te mtc^ ba さ giebc^en abgep 卩 iUft
Unb an betn S3ufen matt gebritdt I
91 ゆ nur, ai) nur
gin SSicrtelftunbd^en tang!

3lc^! aber a6)\ im さ Snabc^en fam

Unb md)t in a6)t bag 9SciId|en tia り m,

Srtrat bag arme 9Je 称 tu

@ さ fanf unb ftarb unb frcuf fid^ tio ゆ :

Unb fterb, td^ benn, fo fterb, id^ bo ゆ

！ Dim^ fic, burc^ 卩 e,

3u i^rcn pfecn bod).

18. さ ev ^(3ni$ in tZl^ute.

e« mx ein tonig in SC^uIc
®ar treu big an ba さ ®rab,
！ Dem fterbcnb feme お u り le
Sinen goltmeti ^Bcc^cr gab,

S さ ging xtjvx m6)i^ bariibcr,
gr lecrf i り ti jcben ©d^mcm さ ；
！ Die ^lugen gittgcn ゆ m itbcr,
®o oft er tranf barau^.

<5oe ゆ es (Sebtc^te

Unb ate cr fam gu fterbcn,
3tt り tt， cr fcittc ©tSbf im JRei ゆ,
®onnf ttfleg feinetn Srbeti,
Dctt ©cd^er nid)t jugtetc^.

Sr fa^ beim Si^tiiggma り te,

J)ie SRitter utn x\)n り er,

5luf り り em 9Jatcrfaate

Dort auf bem @d^Io§ am 3Kccr.

Dort ftanb ber alte ^t6)tY,
Zxant lefete gebcn^glut
Unb tt)arf ben り eil,geti お ec^er
©inunter in bie き tut*

Sr fa^ ゆ ti ftUrgen, trinfcn
Unb fm!en ticf in さ 3Kccr.
！ Die a 零 Ti ゆ fttett ゆ m fUifeti,
SCranI nie einen Zvopftn me り n

19. (Bci\tc^'(Bvnff.

^06) auf bem attcn Zumt ft ゆ t
5Dc« ©etbcn cblcr ©cift,
Dcr, tt)ic ba さ © ゆ iff Doriiberge り t,
g« IPO り t ju fasten ^ci^t.

„@ic]^, biefc ©enne ttmr fo ftart,
！ Cte« §crg fo feft unb wilb,
I)ie SliDd^en t)olI Don SRittermarf,
I)er お ed^er angefullt ；

<8oe ゆ es <8ebtd?tc.

,Mtm fjalbc^ gebcn ftitrmt' id) fort,
a3erbef|ttf Me §atff in 9hit|,
Unb bu, bu aWettf ゆ eti-@ ゆ iffleitt bort,
き ゆビ immcr, imincr ju!"

20. JHne fu Kobletif,

im (Somtncr 1774.

3w 称 It 8at)ater unb Safebom
©a^ tcf) bci Jtfd^ be さ ？ cbcn^ frol^.
§err §clfer, bcr itmr gar ni6)t faul,
©efet, fid^ auf ctncn fd^itmrjen ®aut,
9Zal^m cincn ^farrcr l^intcr fief)
Unb auf btc Dffenbarung ftri ゆ,
！ Cic im さ ^ol^anne^ ber *?}vop]^et
aWit mt\cln IDO^I Dcrficgetn t^at ；
groffnct' bie ©icgcl furj unb gut,
SBic man Jl^ertaf^bitcfifen 5ffnen ゆ ut,
Unb ma も mtt einetn l^citigen 9?ol^r
！ Die Subu^ftabt unb ba さ ^leti ふ r
Dcm l^ocfierftauntcn ^itnger わ or.

itmr inbe さ nid^t meit gcrcift,
§atte em ®tu(f ©altncn aitfgef や ei 卩，

SSatcr S3afcboit), unter bicfcr ^txt,
^adt etncn Janjtneiftcr an fciner ©cif
Unb geigt ゆ m, itm さ bic Saufe flar
SSti dl^rift unb fcinen ^^Uitgern itmr;
Unb bag fid) ，さ gar iti ゆ t jicmet it^t,
！ Dag man ben Sinbcm bic ®opfc nt^t

(Soetf^es (Stb'idfie

！ Drob iirgcrt fid^ bcr anbrc り r
Unb iDolIte gar nx6)t^ Ijoxtn me り r
Unb fagt: c« iDii^te tin jcbe^ ^inb
！ Da 后 c« in bcr Sibel ember さ ftunb'.
Unb i ゆ I) ゆ agfi ゆ unterbcffen
§tttt, cincn ©al^nen aufgefreffcn*

Unb, tt)ie nadi (Stnmau さ, iDeiter ging ，さ
aWit ®rift- unb き euerf あ ritten,
^xop\)ttt re ゆ t さ, ^ro^jl^cte liitf さ,
SDa さ SBeltftnb in ber 薩 etu

21.

rcgticn, iDcnn e さ rcgncn iDiH,
！ Dcm better fcinen 8auf ;
Dcnn tt)enn e さ nid|t mcl^r rcgncn toiU,
®o l^iJrt ，さ t)on fclber auf.

22. 2tn Sditva^cv HvonoB*

® や itbe b ゆ, Srtmo さ !

fjort ben raflelnben Zxoit I

^Bcrgab cjtcitet bcr SBcg;

(SKe さ ® ゆ ttJinbettt gogert

3)?ir わ or btc ©time bein gaubem.

き rifd^, l^otpert e さ gleid^,

tiber ©tod unb ©tcine ben Zxott

^a\6) in さ Seben l^incm ！

(5oetf)e5 (Sebic^te.

9?un fd^on toicbcr
！ Den cratmenben @ ゆ ritt
赚ま m S3cr9 り i 籠 fl
3luf bcnti, tii ゆ t triigc benn,
©trebcnb unb l^offcnb l^faum!

2Bcit, l^oc^, l^errl ゆ ber Slid
5Rinfl« in さ 8ebcn l^incm,
SSom ©cbirg jutn ©ebirg
©c^toebct ber etDtge ®eift,
gtDigen Scbend a]^tibct)olI.

®ctttt)drt« be さ ttberb 率 ©c^attcn
ふゆ t M ゆ cm

Unb cin grifc^ung Dcr^ci^cnber SSM
auf ber Sc^melle bc« a»iib ゆ eti さ bo.
8abe bic^ ！ 一 SWir auc^, SKfibd^etu
！ Ciefen fc^aumcnbcn JranI, 、
！ Diejcn frifc^cti ©cfunbl^eit^blid ！

W) berni, rafc^er l^inab I
@te り, bic ©onnc fmft!
(§if fie finft, e ゲ mtc^ ©rcifen
grgrcift im 3Jfoorc 5KebcIbuft,
gntja り Tite Sicfer fdinattcm .
Unb bod jc^fottcmbc ®cbchu

Sirunfnen t>om Icfeten ®tra り t
5Rei§ Tnid^, cm gcuenneer
aWtr im ft^iiuTnetiben Slug,,
腿 ゆ geblenbcten SCautnctnbeti
3n ber ©oUc niic^tli ゆ 2:]^or.

<5oe ゆ es <Sebid?te.

5Eone, ©c^toagcr, in^ §om, .

JRa^tc ben fd^aHcnben Zvab,

I)a5 bcr Orfu さ わ emel^me: ton fomtnen,

！ Da§ gletd^ an ber Satire

！ Dcr SBirt un« freunMi ゆ cmpfangc.

23. 5en&fci{veif>en,

SKein atte さ gtjangefium
Sring， tc^ Mr l^ier fd^on tt)iebcr ；
J)oct| ift mi ビ g mf)i urn mid) り erum,
Darum fd^retb' ic^ birt niebcr.

^ l^ottc ®oIb, it^ ^ottc SBein,
©tetif alle さ ba gufammen.
Da, bac^f i ゆ, ba toirb SBiinne fein,
®e り t mem ®emMb, in き tammeti ！
ゆ af i ゆ bci ber @c^% glor
SSicI ®Iut unb SRe ゆ turn ft^iDcinnen ；
Dod) aJJcnft^cnfleift^ gcl^t aHem t)or,
Urn ft ゆ baran iDarmcn.

Unb tt)cr tiiddt ric^tct, fonbern flei^ig ift,
93Sic id^ bin unb tt)ic bu bift,
！ Den bdol^nt an6) bic 2W6eit mit (Senu^ ；
9?ici ^お tt)irb auf ber ？ Bctt il^m tlberbru^.
Detm er bledet nid|t tnit ftum^fctn S^\)n
Sang' ©cfottnc^ unb ©ebratne さ an,
!E)a さ er, totm er noc^ fo ftttlid) faut,
Snbtid) bo ゆ ni6)t fcmberii ゆ Derbaut ；

26 (Soctl^es <5ebtc^te.

©onbcm fa も t em tud^tig ©d^infcnbein,

§aut ba gut tagtol^nermagig brcin,

§mit bi« oben gtcrig ben ^ofal,

kvxntt unb iDif ゆ t bag 3)?aul ido り t nid)t emmol.

25 @iel^, fo ift 9Jatur em ゆ lebcnbig,
Untjcrftanbcn, bocf) ti ゆ t unt)erftanbli^ ；
！ Denn bein §erj り at t)iel unb gro^ お egel^r,
SBa さ woijl in bcr SBelt fitr き reube lt)iir，,
SlMcn @onnenfcf)cm unb atle お ftrnne,

30 2lfle さ aWcergeftab' unb alle Jrautnc

3n bcin §erg ju fammcln mit einanbcr,
？ Bie bic ？ Brit burd)lt)u]^lenb Scmfg, ©olanbcr,

Unb it)ic mu§ W ビさ iDcrbcn, tt)cnn bu fit り left,
！ Da§ bu atle さ in bir felbft erjicleft,

35 i^reubc り aft an beincr き rem unb gunben,
9H さ nod) fcincr in gl^putn gcfunben,
2U さ cr ba mit ©t^atten lieblid^ fd^tueifte
Unb an golbnc ©ottgcftatten ftreifte.
9?^t in SRom, in aWagna ®rftda,

40 ！ E)ir itn §crjen ift bie 9Bonnc bal

SBcr tnit fciner abutter, ber Slatur, fid^ り Mt,
ginb't itn ©tcngelgla^ tooijl cm SBett,

24. pvometlteu&«,

^Bebede bcinen §hnmel, ^tu^,
aWtt SBoKettbunft
Unb iibe, bem Snabcn glei ゆ,
®er ！ Diftein や ft,

(SoetJjcs (Stbxdfie.

Sin git^en bic^ unb Scrge^^ol^n ；
SKu^t mir mcine grbe
！ Doc^ laffen 卩ゅ ti,

Unb mcine giittc, bic bu nid^t gcbaut^
Unb meincn §crb,
Urn bcffen (Slut -'' '
！ Du tnid^ bcneibcft

fcnne tii ゆお 效 nnere さ
Untcr bcr ©otm，, al さ cud), @5ttcr!
Sijx nal^rct fummerlit^
®on D^jfcrftcuem
Unb ©ebeWl^aud)
(Sure aWajeftat,
Unb barbtct. iDaren
卿 Inber unb Settler
©offnutifl^tjolle Zlfoxtn.

Da id| em Sinb itmr,

yixd)t iDugte IDO au さ nod) cin,

Sel^rt' i ゆ mem tjcrirrtc^ Huge

3ur (Sonne, al さ iDenn briibcr warf

din O り r, ju l^orcn tncittc ^lagc,

Sin ©erj, tok mein さ,

©id) beg ^ebrcingten ju crbannctt-

SBcr l^alf mir

SBtber ber Sitanen Ubcmut ？ぃ
SBer rcttete り om SEobe mid^,
9Son ©flaoerei ？

©aft bu md)t aUe さ felbft tjollenbct,
©eilig gliil^enb §erg?

(SoetJjcs (Sebtc^te.

Uttb 琴 eft iimg unb gut,

お etrogeit, Sficttung^ban!

！ Dcm ©c^tafenben ba brobcn ？

Sd) bx6) c^rcn ？ SBofilr?

§oft bu bie ©d^mcrgcn gelinbert

3e bc« ©ctabenen ？

§aft bu bic 'ilijx'antn geftillct

3fe bc« ©eangftcten ？

§at nid^t tni ゆ gum 3Kanne gcfdimicbct

！ Die aUmcidittge ^tit

Unb bag ctDige ®d|i(ffoI,

aJicittc §crrn unb bcine ？

JBa^ntcft bu ttm,
■3 ゆ follte ba^ 8cbcn l^affen,
3n SBUften ffic^en,
麵 n"t aUc
Sttitcntrdumc rciften ？

§icr 卩ぉ， id^, forme SD?enfct|cn

5Ka ゆ mcinem お ilbe,

®n ®efcl^Ied)t, tm さ mir gfeid^ fei,

3u Ictbcn, ju iDeincn,

3u genie 如 It unb ju frcucn fi ゆ,

Unb bcih nidjt ju ad)ttn,

mt id) 1

25. Heue Ciebe nettes Ceben.

§erj, mm §erg, nm さ foil ba さ gcben ？
SBa さ bcbrangct bid^ fo り r?
SBcId^ ein frembe^, tieue さ gcben I
Qd) crfcnnc bid) niddt m ゆ r*

<5oe ゆ es <Sebid?te.

SBcg ift aHe さ, ttm さ bu ttcbtcft,
Scg, mxnm bu bt^ betrilbtcft,
SBeg bein fjlci^ unb beinc JRu り 一
Sld^, tt)ie famft bu nur baju ！

fjeffclt bid^ bie ^^ugcnbblUte,
！ Diefc ficblidie ©eftalt,
！ Diefer S31ic£ t)oIl Strcu' unb ®iite,
a)«t uncnblid^er ©cwalt?
SBitt ゆ raft^ mid) ま cntjiel^ctt,
3DWt^ crmannett, i も r entflie ら en,
%n\)xct mi ゆ itn Slugenbtid,
^6), tnein Seg gu il^r juriJd.

Unb atr bicfctn ^aviitx^^i6)cn,
Da さ fi ゆ ni6)t gerrci^cn la^t,
©Mt ba さ ficbe, lofc 2Kabd)cn
mii) fo iDiber mikn feft ；
3)?u§ in ゆ rem 3auberfrrife
8cben nun auf ゆ re SBcifc,
！ Die 33eranbning, ad), tok gro^ I
giebe I Sicbc ! (ag mid^ to さ！

26. 3tt ben 《ei&en bc& iun$en tPcrtljers,

■Seber ^^ihtgthtg fcl)nt fid^, fo ju lieben,
3fcbc« aWabd^en, fo gcliebt ju fcin ；
9ld^, ber り eitigfte り on unfcm 5Eriebcn,
SBarutn quillt cm さ ゆ m bic grimrne ^ein?

！ Du betocinft, bu Ucbft ，ゆ n, ticbe ®eetc,
JRctteft fein ©cbiid^tni^ Don ber ©ddtna ゆ ；
©iel^, bir winft fcin ®eift au« feiner gol^lc :
®et ein aWatiti unb folge mir nxijt na ゆ •

<5oe ゆ es (Sebtc^te.

27. Uuf 5em See.

Unb frifd|c 5Ra^rung, ncue« S3tut
®aug， i ゆ cm さ fretcr SBelt ；
SBic ift 5Katur fo り oft unb gut,
！ Die mic^ am Sufen pit I
I)ie SBellc tt)icgct unfern り n
Sm 9tubertaft.I)mauf,
Unb S3crflc, iDoIftg り hmnetcm,
Scgegncn unferm 8cmf*

2lu8，, tncin Slug', さ finfft bu nicbcr ？
©olbnc SEraume, fommt il)r tuieber ？
SBcg, bu Jraum ！ fo ®oIb bu bift ；
§icr aut^ 8tcb' unb gebcn ift,

5hif ber SBcUc btinfen
SCaufettb fdjiDebenbe (Stcmc,
fficic^e 5KebcI trinlen
9Jing さ bic titnnenbe き erne ；
aKorgcnttjinb utnpgett
！ Die bcfdjattctc Sudjt,
Unb itn ®ec befpicgett
®xd) bic rdfenbe き mt^t.

28. Vom Bev$e»

SSBetm x6), liebc bid) nid)t liebtc,
aSJcld^c SBonne gab' mtr bicfcr SSM I
Unb bod^, iDcnn 8Hi, bid^ nic^t licbtc,
き ttTib， it^ l^ier unb fiinb' id) bort tncin ©tiJd?

<5oe ゆ es (Sebic^te

29. Bunbesliet^

Qn alien giiten ©tunbeti,
(ixi)b\)t t)on 8ie6, unb SBctn,
©oil biefe さ 8ieb Derbunben
SSon un« gefungen fctn!
Ung l^alt ber ®ott gufamtnen,
！ SDer ung り ier り er gebra ゆ t*
grneuert unfrc き tammeti,
@r l^at fie angcfat^t.

®o gtiil^ct fro^Iid^ l^cutc,
®cib re ゆ t t)on §erjen ehi さ！
9luf, trinft cmeutcr お eube
！ Die さ ®la« be さ edjten SBeiit さ！
3luf, in bcr l^olbcn ®tunbe
©to^t an, unb fiiffet treu,
Set jebetn ncuen ^Bunbc,
！ Die attctt tt)iebcr ncu!

SBcr lebt in unferm Sreifc,
Unb lebt md)t felig brin?
©enic^t bie freie SBeife
Unb treucn Srubcrfinn ！
®o btcibt bur ゆ alle S^ittn
©erj ©crjcn jugcfe^rt ；
9Son fcinen ^leinigfciten
SBirb unfer 53unb gcftort,

Utt さ り at em ®ott gcfcgnet
3Kit frcicm 8ebcn«blid,
Unb afle さ, itm さ begegnct,
Srneuert unfer ®IM.

32

30

35

4o

(Soetl^es (Sebtc^tc.

SDurc^ ©rillcn ni ゆ t g^branget,
aScrfttidt feme 8uft ；
！ Durd^ 3iercn iti ゆ t gccnget,
(Sdltiigt frcier unjre Sruft

ajiit icbetn @d|ritt tt)irb iDeiter
！ Die rafc^c geben^bal^n,
Unb Inciter, immcr Inciter •
©teigt unfcr 53Ii(f り iitatu
Uit さ toirb e さ nitnmcr bangc,
Senn ailed ftcigt unb faUt,
Unb bleiben tange, lange 1
Sluf ett)ig fo gefcHt.

30. tm& part.

3fft boc^ feme aWenagcrie
®o bunt at さ nteincr 8Ui il^rel
@ie I^Qt barin bie iDunberbarften Jierc
Unb friegt fie 'rein, lt)ei§ felbft n\6)t tok,
5 D, tvk fie ijnpftn, laufen, tra^jpeln,
3)?it abgci'tumpften gliigeln ga^j^jeln,
!E)ic armen *?}rmjcn alljumal,
Sn nie gclofc^ter 8iebe さ qiml!

„3Sk I)ic§ Me gee? 一 8iti?" — gragt tti ゆ t noc^ i り rl
lo Sennt il)r fie nit^t, fo battfet ®ott bafiir.
SBelc^ cin ©erdufd), idcIc^ ein ©cgadEcr,
SBenn fie 卩ゅ in bic Xf)nvc ftcllt
Unb in bcr §anb bad guttcrfbrbd^en l^alt!
fficld^ ein ©equicf, tt)elt^ ein ©cquadEcr ！

<5oe ゆ (Sebtc^te.

33

2lUc mnmt, aUc «Ufc^c 15

©c^cincn lebenbig gu iperben :

®o ftttrgcn fid^ ganje ©crbcn

3u t^ren gttfeen ； fogar im Saffin bie gifd^c

^otfc^cn ungcbulbig tnit ben So^jfcn り emug,

Unb fie ftrcut bann bag gutter au« 20

aWit eincTn お lid — ©otter p entjudEcn,

©efd^tDcigc bie お eftien. 5Da ge り t, さ an tin *?}idcn,

5ln ein ©d^IUrfen, an tin §oden ；

®ie fturjen einanbcr itber bic 5Ka(fctt,

©c^ieben fic^, brangen 卩 d^, rci^cn fit^, 25

3agen fi4 angften fit^, beigen fid),

Unb ba さ all urn ein ©tUdc^cn ©rot,

S)a さ, trodctt, aud ben ft^onen §anben ft^tncdEt,

5lt さ ptf e さ in 5ltnbrofia geftcdEt.

Slber ber お tid a\x6)l bcr Son, 30

SBenn fie ruft: ^xpil ゆ i!

3o9e ben 9lbler 3u|)iter« t)om 21^ron;

！ Cer Sktm さ Zauimpaax,

Qa, ber eitic *?}fau fogar,

3fc^ fc^iDore, fic famcn, 35
SBenn fic ben Son t)on toeitem nur t)ema]^tncn.

SDenn fo t)Qt fie cms be さ SBaIbe« 3tad{|t

ginen ^Bftren, ungclcdt unb ungegoflen,

Unter it)xtn S3efd^Iii§ l^ereinbetrogen,

Untcr bic ja^tne Sompanie gcbrad^t 40

Unb tnit ben anbem jal^m gemad|t :

おお auf einen gciDiffen "ipunft, り erftel^t p ゆ！

SBic ft^on unb, ad) ！ tt)ie gut

@ct|icn fie ju feiti! 3 ゆ ptte mcin ©lut

©egebcn, urn tl^rc ^BIUTncn ju beflie^cn. 45

(Soetf^es (Sebtc^te

„Q\)T fagtct : ic^I Sic? SBer?"

®ut benn, ゆ r ©erm, grab au« : 3 ゆ btn bcr Sar ；

Qn cinetn gUetfc^urg gefangcn,

3ln einctn Scibenfabcn i り r ju gil^cn.

I)oct| tt)ic bo^ alte さ gugegangcn,

@rgal)r i ゆ euc^ gur anbcm ^dt ；

！ Dagu bin td^ jU toiitig り eut* 、

！ Denn, i)al fteiy tc^ fo an ber gdc
Unb l^of t)on tDeitem bag ®ef ゆ natter,
®e ゲ bag ©cfKtter, bag ©eflattcr,

x6) mid) urn
Unb brmnm,,

Unb rcnne rildtDiirt^ cine ©trcde,
Unb f ギ mi ゆ urn
Unb brutnm',

Unb laufc tt)icber einc ©trede,
Unb fel^r, boc^ enbltc^ tt)icbcr 賺.

！ Dann fangt'« auf eintnal an ju rafcn,

Sin tnadifflcr ®ci[t ft^naubt au さ ber 5Kafcn,

g さ tt)ilbjt bic inncre 5Katur.

SBa さ, bu tin Zi)ov, cin ^U6)tn nur!

@o cin ポ i や i ！ gid^pmd^en, 9tu§ jU fnadEcn ！

Sd) ftraube tneincn borffgcn 5Kaden,

3u bienen ungeiDol^nt.

gin jcbe^ aufgeftufetc 职 umd^en l^ol^nt

aSit^ an! ^d) 卩 id^ t)om お outmgreen,

9Som nteblid^ gtott getnal^tcn ®rafe ；

5Dcr ©ud^^baum giel^t tnir erne 5Kafe,

Qi) 卩 ie ゲ m« bunfelfte ©cbiifc^c り in,

<Soe ゆ es (Sebt^te

35

^m6)^ ©eliegc gu brmflen, 75

Uber btc ^lanlen gu fpringen!

9Ktr わ erfagt Slettem unb ©prung,

gin ^auber bleit mic^ nicbcr,

gin ^aubcr Ij'dtdt mid) njtbcr,

3 ゆ arbcite tntc^ ab, unb bin id) matt gcnung, 80

SDann licg' id) an flcfUnfteften ^a^faben

Unb lau' unb n)ein， unb tpttlje り a(6 mid) tot,

Unb, ad)! e さ ^brcn memc 9?ot

9lur porjctlanenc Dreaben.

5lwf einma (！ 2lc^, e« brtngt 85
Sin felige^ ®cful)( bur ゆ atte memc ®(tcber!
®ic x\t% bic bort in ゆ I'er 8aubc fingt ！

{)5rc bic Itebc, (icbc ©tttntnc tt)ieber,
®ie ganje 8uft tft njartn, tft Milte わ ott*
21 ゆ, fingt fie njo りレ bag id) fie {)oren fotl? 90

bringe gu, tret' atfe ©trduclic nicber,
!Dtc 53u|c^e pie{)n, bie Saumc njctc^en tnir,
Unb |o 一 ju tl)rett gil^en liegt ba^ 2^er,

®tc ftcl^t e さ an: „&n Unge り euer! bod) brolltg ！

き ilr etnen Sdren ju milb, 95

き ttr eitictt ^ubel ju njtib,

©0 gottig, tclpfig, hiolligl"

@tc ftreic^t ゆ m tntt bem gilgci^en ubcm 9?tt(f en ；

(5r benft ttn ^arabtefc ju fein.

2Bie tl)n alle fiebcn ©innc jUd en 1 100

Unb fie fie{)t ganj gefaffen breitt.

fiiff il)r @ ゆ ul^e, f(m， an ben ©ol^ktt,
©0 jittig, al さ ein S3dr nur mag ；

36

(Soett^es (Sebtc^te

®atti fac^te り el)， ゆ mtc^ unb fc^minge mi ゆ t)crfto]^Ictt
105 8d さ an ゆ r knit 一 3hn giinffgen lag

Sagt 卩 e ，さ gefc^el^n unb fraut tntr utn bic D り rett
Unb patf ゆ t tnic^ mit mutmtUtg berbcm © ゆ fag ；
-3c^ fmtr ビ, in SBonnc neu gcboven ；
！ Dann forbcrt fie tnit fu^cm, ettlctn ©pottc :

no Allons tout doux ! eh la menotte ！
Et laites Serviteur,
Comme un joli Seigneur.

@ ひ treibt jk ，さ fort tnit ®pie( unb 8a ゆ en 1
S さ l^offt bcr oft betrognc 5£ り or;
115 aDoc^ toxtl er 卩ゅ ein bi^c^en imnii お ma ゆ eti,
§Mt |ic i^n furg d さ tpie jutjor.

5Do ゆ l^at fie and) ein き tiif ゆ ゆ en 4Bcrffam- き euer さ,

S)em fritter grbe §onig glei ゆ t,

2Bot)Ott fie tt)o り I etntnaf, り on 2kV unb Zvtn emctc^t,

120 Utn Me わ erle ゆ jten Sippen ゆ re さ Unge り euer さ
(Sin Iropfc^en mit ber き htgerfpi お e ftretc^t,
Unb njieber flie り t unb mic^ tnir iiberla^t,
Unb ic^ tmtm, lo さ gehmbeti, fcft
®thamt bin, imtner noc^ t{)r giel^e,

125 ©tc fuc^e, [c^aubrc, njicber pie り e —
@o lii^t fie ben jerftorten Slnticn g ゆ tt,
3ft [ciner 8uft, tft fetncn ©ci^tneqen fttU ；
§a 1 man ゆ mal ia^t fie tnir bic i り ilr l^alb offeti 卩ゆ
©eitblidt mi ゆ fpottenb an, ob tc^ ni ゆ t pie り ett njttl.

130 Unb id) ！ 一 ®5tter, tff^ in curcn §(inbcn,
3Mefe さ bumpfe gaubernjerf ju enbcn,
aBie banf i ゆ, tpenn ゆ r mir Me 2?re ゆ eit fd^afft ！

(Soett^es <Scbt(^te.

37

！ Doc^ fcnbet ttjx mix feme §ilfc ntebcr 一

3lx6)t gang utnfonft reef id) fo mctnc Oltcbcr :

^ fii り I， さ！ fc^njB ビさ 1 9?o ゆ f)aV id) Svaft. 155

31. Un citt doI5ne& Qcrf, bas cr am Qalfe tru^*

Slngcbcnfen bu わ erftungtter き reube,

！ Da さ id) ttntncr nod) am §alfe trage,

§altft bu longer at 各 ba さ ©eelcnbanb mt さ kibe?

SSerlangerft bu ber Stcbc furgc Sage?

き li ゆ， わ or bir ！ 3Jht^ tio ゆ an beinctn Sanbe 5
！ Dur^ frctnbc ganbc,

5Durc^ feme 2:i)aler unb 3BaIber njaHen 1
2lc^, ，さ §er3 fonntc fo ba(b nic^t
95on Tnetncm ^cqcn fallen*

SBic ein SSogef, ber ben gaben brtc^t
Unb gum 3BaIbe fe り rt,
(Sr fc^le^jpt be さ ©cfangniffe^ © ゆ ma ゆ,
Sflod) ein ©tiitf ゆ en be さ き aben 各, noc^ ；
& tft ber altc freigebonic SSogel tii ゆ t
& f)at fd^on jcmanb angcl^ort.

10

15

32. Ja^crs :ii>eni>tiet^

き elbe f ゆ W ゆ， ゆ ftiU unb tptlb,
®c|pannt tnein gcucrroI)i\
J)a [dinjcbt fo li ゆ t betn fiebc« S3ilb,
!Dcm fii§e さ S)ilb tnir り or.

<9oeit)e5 (5ebic^ie.

！ Du iDatibelft je お t tool^l ftiU unb mtib
©un^ gclb unb Itebed X^al,
Unb, (xif, mm f ゆ tieU t)erraufc^etib SRxlb,
©tetlt fic^ btr'^ ntd|t cinmal?

!Dc^ aWetif め cn, bcr bic SBelt bim^ftrcift
95oU Untnut unb SSerbrufe,
Sflai) Often unb tia め 9Bc[tcn fd^weift,
3BetI er bic^ laffcti mug.

aWtr ift t も, benf ゆ nur an bi ゆ,
211 さ m bctt 3Konb ju fcl^n;
gin fttUer き riebe fotmnt auf mi ゆ,
SBeip tti ゆ t, tDte mtr gcfc^cl^n.

33. Un CW,

3n tin (S^emplar ber Stella, 1776.

^Jm l^olben 2： り d, auf fdineebebedten ©ol^cn

ffijar ftet さ bein ふ fi) tnir nal^;

-3c^ fa り， さ um tntc^ in li ゆ ten SBoIfen m ゆ en,

•3m §crjett mar mtrt ba.

Smpfinbe り ier, mtc tnit alhna ゆ t，gem 2^riebe

(Sin §erj ba さ anbre jie り t,

Unb ba^ わ ergeben 各 8tebe

35or giebe pie り t.

34. tDan5rer& nad^ttieb*

5Dcr bu t)on bem gttntnel bift,
SlHe さ 8eib unb ©c^mcqen ftiUeft
J)cn, ber boppcit elcnb ift,
Doppelt mtt grquidUTtg fUUcft,

(Soett^es (Sebt^te.

^6), id) bin be さ Irciben^ miibe ！
ffiJa^ foil all bcr ©d^meq unb 8uft?
©ii^cr gricbc,

S^omtn, ad^, lomtn in tncine Snift!

35.

SSSarum gabft bit un^ bic tiefen SHtfe,
Uttfre 3ufuTift a り Tiunggt)oU gu fc^aim,
Unfrcr IHcbc, unferm Srbengflidc
SBal^nenb fcfig nitntncr l^injutraun?
aBarum gabft im さ, @(^i(ffa(, bie ©eful^Ic,
Un さ etnanber in ba さ あ }u fcl^n,
Unb bur ゆ all bie feltencn ®ett)u{)Ie
Uttfer m\)v 9Se ゆ ttitni さ au^jufpa^n?

51 ゆ, fo わ iele taufenb 3D?enfd^en fenneti,
！ Duntpf trcibenb, faum ゆ r cigcn §erg,
©d^njeben jtDecflo^ り hi unb も er unb rentien
§offnung さ lo さ in unt)erfel)nen ©d^meq;
^aud^gcn tpteber, tpenn bcr f ゆ neilen ^reubcn
Uncrtoarftc aWorgenrote tagt;
Slur mt さ artnen liebeDoUen Seiben
3fft ba さ tpec^fclfeifge ®IM tjcrfagt,
Uti さ ju fieben, of^xC mi さ ju わ erftel^eti,
Sn bem anbcm f ゆ n, \va^ er nic wax,
Otntner frif め auf Irautnglud au^gugcl^en
Unb ju fci^iDanlen and) in Irautngefa^r,

ゆ, ben cin (ecrer Irautn bcft^iiftigt,
©liidlic^, bem bic 21 ま tig eitel Mf ！
3^cbe ©cgcnmart unb jeber Slid befrafttgt
Zxanm unb 21 り mmg leiber un さ no ゆ tnc^r.

40 (5oett{es (Sebtc^te.

25 ©ag,, nja さ toiH bad ©c^idfal im さ bcrcitcn?
@a8，, tpie banb e さ un^ |o rem genau?
ad), bu tparft in abgefebtcn Stittn
aKeine © ゆ tpefter obcr tneinc %xau.

Sannteft jcbcn 3^9 hi mcmctn SBefcn,
30 ©pa^tcft tpie btc reinfte 5Ker わ e Ittngt,

^onnteft mi ゆ tnit ctncm Slide lefen,

©en fo fc^njer ein fterblic^ Slug' tmr ゆ britigt ；

Iropfteft aKiigiflung bcm ^cigen ©lute,

9?icl)tcteft ben tDtlbcn, trren 8auf,
35 Unb in beinen Sngcl^artncn ru^tc

！ Die jcrftdrtc 4Bruft ji ゆ njteber auf ;

§icltcft jaubcricid^t ゆ ti angebunbcn

Unb t)er8aufeltcft i り m tnant^cn lag.

SBel ゆ e ©eligfeit gltc^ jetien aBonneftunbcn,
40 J)a cr banfbar btr iu ^n^tn lag,

§u{)If fein ©erg an bcmcm ©erjcn f ゆ toelkti,

き ill^lte m in beinctn Slugc gut,

5lUe feine ©tnnen fic^ cr^ctten

Unb beruliigctt fein braufenb SShxtl

45 Unb t)on aUm bctn f ゆ njebt cin grinncm
3lux nod) urn ba さ ungetptffc gcrj,
き ii り It bie alte 2Ba り r り eit cttJtg g(e ゆ tm ^ftmern,
Unb ber ncuc ^Suftanb toixh tl^m ©ditncrj.
Unb tpir fci^etnctt uti さ nur り aft befccfct,

50 ©atntnemb ift utn mi さ ber り etlfte lag*

©ludlic^, bag ba さ ©c^idfal, bad un さ quiilet,
Uti さ hod) n\(S)t Derttnbern mag!

(Soett^es <Sebt(^tc.

36. Haftlofe tUba.

Dctn ©ci^nec, bem SRcgen,
！ Dcm aasmb entgcgen,
3fm ©ampf bcr tlufte,
!t)ur ゆ giebclbuftc,
な mnier gul さ mmer ju!
D^nc 卿 unb 卿

gteber hux6) Scibcn
SW6 ゆ f lit) mi ゆ fc^Iagen,
5ll« fo t)icl greubcn
5De さ geben^ ertragen,
2lHe ba さ ^Kctgen
aSott §crjen gcrgcn,
31 ゆ, tt)tc jo cigen
©diaffct tm さ (Sc^mcrgcn ！

ffiJtc fott tc^ flictjen?

Sllle« tjergebcn^ 1
SroTie be 各 8eben さ，
®IM り Tte
giebc, bift bu!

37. ^infd^rdnfund*

3^ ゆ njet^ tti ゆ t, ma さ tntr I)icr gefiillt,

bicfer engen, fieinen 2Bclt
TUt I)oIbcm 3(mberbaTtt) mi ゆ り Mt?
SSergcff i ゆ bo ゆ, わ ergeff i ゆ gem,

42 (Soe ゆ es (5ebic^te.

5 SfBic fcltfatn mi め bad ©ci^tcffal leitet ； -

Unb, a6), id} 师 e, na り unb fern

3tt tntr nod) ntand)e^ jubcrcitct.

D, tparc boc^ bad recite 3Ka§ gctroffcn 1

2Ba さ bictbt mtr nun, a% ctngcl^UlIt,
lo SSon {)oIbcr gcbcn^fraft erfttUt,

Sn [tiller ©cgenwart btc 3ufuttft crl^offcn 1

38. Seefal^rt.

gauge lag' unb 9Zac^tc ftanb metti © ゆ iff bcfrac^tct ；
©unffgcr aBinbc り an'etit), fa§ tntt treucn greunbcn,
5D?tr ©ebulb mi gwtcn aJhit ergct^cnb,
m §afctt.

5 Unb fie waren boppelt ungebulbtg :

®eme gonnen wtr btc [c^nellftc お rife,

®em bte l^o^e き a り rt btr; Outcrfiille

SBartet briiben in ben SBcItcn bciner,

SBtrb JRudtel^renbem in unfern Slnuen
lo 8icb' unb が rei さ Mr.

Unb am frul^cn aWorgen ttmrb ，さ ©etttmmel,
Unb bem ©d)laf entjau ゆ un^ ber SRatrofc,
sale さ tpimmelt, aUe さ lebet, njebet,
3Kit bem erftcn ©egeti^l^aud) ju fd^iffcn.

15 Unb bic ©egcl blu{)cn in bctn ©au ゆ e,
Unb bte (Sonne lodt tnit gcucrlicbc ；
3i ゆ n bie ©cgcl, gie^n bie I)o^cn SBolfen,
3^au き tt an bem Ufcr oUe ^^^eunbc

(Soctl^cs (Sebt^te.

43

§offttung さ lirter nad), itn grcubctauntel
5Retfefreuben njal^ncnb, tPte bc^ @tnfc^tffmorgen«, 20
2Bic bcr erften l^olien ®tcmcnncicl)te.

after gottgefanbte SBcd^fcItDtnbe treibcn

©citnjdrt^ ゆ n ber Dorgeftcdtcn き a り rt ab,

Unb cr fc^cint fic^ i^nen ^tnjugcbcn,

(gtrcbet leifc |ic ju ilberliften, 25

Ireu bcm 3 は au ゆ auf bcm fc^tcfen SBcge.

Slbcr au さ bcr butnpfcn grauen き erne

^unbet leifenjonbclnb fid) ber ©turtn an,

5Dru(ft bic SSogel nicber auf さ ©cnjciffer,

5Dril(ft bcr 5D?cnfc^en fd^njcttenb §erg barnicber, 30

Unb cr fotntnt, 3Sor [emem ftarren SButen

(gtrcdt ber ©d^iffcr Hug bic ©egel nieber,

3Kit bcm angfterfuUtctt Salic fpickn

SBittb unb SBetten,

Unb an jcnetn Ufcr brilben ftel^en 35

greunb' unb gieben, beben auf betn き efteti :

21 ゆ, iDarutn tft cr ni ゆ t り kr gcbtieben 1

%(t), ber ©turtn 1 SScrfdilagen tpeg わ om ®Iitcf e ！

@oU ber ®utc fo ju ©runbe ge り en?

21 ゆ, er fotlte, a ゆ, er lonntc 1 ©otter! 40

！ Doci^ cr ftcl)et monnlic^ an bcm ©teuer ；

ma betn @ ゆ iffe fpielcn SSSinb unb SBellen;

SaStnb unb SBcMen ni ゆ t tnit feitietn §eqcn :

§crrfd^cnb bitctt er auf bic grtmtnc ^tefe,

Unb Dertrauet, fc^citemb ober latibetib, 45

©ctnen ®6ttem*

44

(Soett^es (Scbtdptc.

39. Qoffnund*

@ ゆ aff , ba さ lagiDcrf ntciner giinbc,
§o{)c« ®(u(f, bag i ゆ， さ t)onenbe ！
8a§, lag m ゆ m6)t ermatten ！
9?etn, e« finb nx6)t leere Iriiunic :
5 お t nur ©tangcn, bicfc Sd'dnmt

Ocben cinft nod^ gruc^t unb © め atten.

40, tUbcbcbhvfni^*

2Ber わ emimmt mi ゆ？ mem foil i ゆ, さ flagen ？
SBcrt t)enta{)tne, tpurb' er mi ゆ bebauern ？
3lc^, bie 8i き bic fo mandjt き reube
©ottft gcnoffcn り at unb fonft gegeben,

5 S'ft gefpalten, unb fie fditnerst crbdrtnltd).
Unb fie ift md)t cttoa nmnb gcnjorbcn,
2BeU bie Siebftc mi ゆ ju wilb ergrtffcn,
§oft mi ゆ angcbiffen, bag fie feftcr
©id) be« greuttb^ わ erfic^ernb i り n gcnoftc :

lo 5Retn, ba^ gartc 8 ゆ p ゆ en ift gefprungcn,
aaSeU nun iibcr 9tetf unb groft bic 9S5inbc
©pife unb fd^arf unb lieblo^ tnir begegnen.

Unb nun foil tnir @aft ber cblen Srcmbe,
aJZit bcm ©aft ber Sicnen bet bem き euer
15 3J?rine さ §erb« り eremigt, Sinbrung fc^affen.
5ld^, IDQ さ toiU tm さ l^elfen, mifc^t bie 8iebe
9Zi ゆ t ein Iropfd^en ゆ re さ ^Balfatn^ brunter ？

(Soctl^cs (Scbtc^tc

へ 1.

gcigcr ©ebanfen
あ fttigfi ゆ e さ @ ゆ tMTifen,
2BeibtfcI)e^ ^agen,
き 9ftf"eS S^Iagen
SSScnbet fein glenb,
aWa ゆ t M ゆ nidjt fret.

Slllen Oemaltcn
^um Irufe fid) er^altcn,
5Kttnmcr fit^ bcugen,
^rtifttg ji ゆ gcigcn
9?wfct btc Slrmc
！ Dcr ®dttcr I)crbct.

Qar?rcife Im tDinter.

©em ®cicr glctc^,

5Dcr, duf fc^njercn 9Korgenn)oIfcn

3Kit fanftetn き ittig nil^enb

5Ka^ Scwte fd^aut,

@cl)tt)ebe mctn 8ieb.

！ Dcnn cin ®ott l^at
3cbetn feme 4Ba]^n
SSorgcgctc^ttet,
5Die ber ®lu(flicl)c
SRafd) jum frcubtgen
Sick rennt :
SBctn aber UnqlUd

(Soctl^cs <Sebt(^tc.

®a さ §erj ju|atntnenjog,
gr ftrdubt わ ergebeti さ
®ic^ gegen bie ©d&ranfcn
5De さ el)emen gaben^,
35en bic boc^ btttre © ゆ ere
5Kur cinmal loft.

3fn S)i(ftc^t«*®ci^auer
©rangt ji ゆ ba« raul)c SBilb,
Unb tnit ben ©pcriingcn
gaben (angft bic SRei^en
On i り re ©Umpfe \xd) gefenft.

Seic^t iff 各 folgen bcm SSSagcn,
S)ctt き ortutta 陶 rt,
SBie ber getnad^lidie Iro^
3luf (jebcfferten SBegcn
©inter be さ gUrften Singug.

2lber abfeit^ njer iff さ？

3tt さ ®ebiifc^ mlkvt \x6) fcin ^fab

©inter ゆ m fc^Iagen

©ie (gtrciudie gufammen,

S)a さ ®ra さ fte^t tpicber auf,

J)ie Dbe わ erf ゆ Kngt i り n*

21 ゆ, iDcr {)eilet bie @cl)merjen

！ De さ， bem Satfatn ju ®ift njarb?

！ Der ftd^ aWettfc^eti り a§

2lu さ ber gutle ber Stebe tranf ？

@rft t)erac^tet, nun etn SSerad^tcr,

^e^rt er ^etmlid) auf

©einen eignen SBert

UTtg'niigcnbcr @elbft|uc^t.

(Soctl^cs (Sebt^te.

3fft auf beinctn ^falter,
SSater bcr Sicbe, ein Ion
©einetn 。り re り em ゆ mli ゆ,
@o erqwtde fcin §eifj!
Dffne ben utnmollten Slid
liber bie taufenb Quetten
9?ebcn bcm ！ iDwrftcnben
On bcr saSUfte ！

5Der bu ber grcuben t)icl f ゆ ciffft,
Ocbem ein uberflie^enb Wla%
©egne bie Srilber ber ^agb
Sluf ber gd^rte be さ SJMIb さ
9Kit jugenbfidiem Ubermut
gro^fid)er 2Korbfuci^t,
©pate SRad)cr be さ UnWlte,
®em f ゆ on ^al^re tjergeblid^
SSScl^rt tntt Stiutteln ber ©aucr.

Slbcr ben gmfatncn

On bcinc ©olbmollen 1

Umgteb tnit SSSintergruti,

S3 お bie 9?ofe njieber {)cranreift,

！ Die feud)ten §aarc,

D gicbe, beitte さ 3M(^tei' さ 1

3Kit bcr bdtnmcmbett き atfd

Seud)teft bu il)m

！ Dur ゆ bie gurtcn bei 9tad^t,

tiber grunblofc SBcge

5luf oben ©efilbcn ；

SDWt bcm taufenbfarbigen SUZorgen

お a ゆ ft bu hi さ ©erj i り m ；

(Soctt^cs (Scbtdptc.

■ bem beijcnben ©turn
IrSgft bu itju り o ゆ cntpor ； •
SSSintcrftrotne ftiirjen t)om i^clfen
On fcinc ^fataen,
Unb Slltar be さ Itcbltc^ften ！ Dante
ffiMrb ゆ m beg gefitrt^tctcn ®ipfete
©d^ttcebc^angner @ ゆ eitd,
！ Den mtt ®eifterrei{)Ctt
^(injtett al^ttcnbe SSoIfcr,

aDu ftc^ft mit uncrforfcI)tctn ©ufcti

®e^cimtti^t)oU offcnbar

liber ber erftaunten SBelt

Unb fc^auft aus 3Botten

3luf il)rc SJeid^c unb gerrltd^fcit,

35ic bu au さ ben Slbem beiner 4Bruber

9Zeben bir tPiifferft

43. Zln 5cn 2non5»

き iilleft tpieber m\d) unb Z\)al
©till mtt Stebelglcmj,
Sofcft enbltc^ au ゆ einmal
3Kemc ®eelc ganj ；

4Breiteft Ubcr tncin ®cfilb
ginbemb Uxntn Slid,
S33ie be« grcunbc« Sluge milb
liber mein ®c|c^i(f.

(Soetl^es <Scbi(^tc.

3^cben 9to ゆ fltmg fU{)It mcin §erj
り- uttb trubcr ^eit,

atiblc gn)tfcl)cn grcub' unb @ ゆ nterj
ber ©nfamfeit.

き lie お, fltcpc, Iteber glu お I
TOtnntcr wcrb' tc^ frol^,
©0 Dcrraufd^tc @d^crj unb ^u^
Unb bte Irene fo.

Qi) bcfag e さ boc^ eirnnd,
SBa さ fo foftlid^ ift I
5Da§ man boc^ ju feiner Qual
TOtntncr Dcrgt^t 1

SRaufd^e, き tu§, bag 2： り al etittattg,
Dl^ttc SRaft unb SRu り，
9?aufd^e, pftrc tncmem ©ang
3KeIobteen ju!

SBctm bu in ber SBhitema ゆ t
SaSUtcttb Uberfc^wiMft,
Dber urn bie き ii り tmg さ ゆ t
^Junger Snofpen quitlft.

©dig, njcr fid^ わ or ber SBcIt
O^ne §a 后 わ erfcpe れ
(Stnen J^eunb am Sufen K)Mt
Unb tntt bctn gente^t,

SBa«, t)on SKenfc^ctt tti ゆ t qetpu^t
Dber n\6)t bebad^t,
©urd^ tm さ gab^rmtl) ber ®ruft
aSJanbeft in ber ^adjt

(Soetl^es (Sebt^tc.

44. (RvabiatviH*

3 ゆ h)ar tin Snabc h)arm unb gut,
911 さ ^ttngfing り atf id) frif(^c« Slut,

SSerfprad^ cmft eincn 9Kamt
©clittcn l^ab' id) unb gcUcbt
Unb liege niebcr o^nbctrubt,
5Da i ゆ ntd^t inciter fann.

45. 2ler ^Ifdjer.

S)a« aSaffcr raufd^f, bad SBaffcr fdE|h)oa,

gin gifcfier fa 后 baran,

©a も nad) bem 9lngcl ru^cDoH,

Sii^t bi« cm さ §crj も mem.

Unb tt)ic er fi^jt unb tt)ic cr laufdjt,

leilt fi ゆ bic ^lut tmpox ；

9lud bent betoegtcn SBaffer raufdjt

gin feu ゆ te さ SBeib り ert)or.

®ic fang ju ゆ m, 卩 e fpracf) ju il^m :

2Ba« (ocfft bu mcinc も rut

aWit aWetif ゆ etttDi お unb aWcnfc^cnlift

§inauf in S^obc^glut ？

31 ゆ, tDugteft bit, h)ie, さ き if ゆ (ein ift

@o h)o り lig auf bem ®runb,

5Du fticgft ^crunter, tt)ic bu bift,

Unb h)urbcft erft gcfunb.

8abt ftd^ bic ticbc pontic tii ゆ t,
！ Der aWonb fief) ni ゆ t im TOccr ？

(SoetJjes (Scbi^te.

51

Se^rt tDcUcnatmcnb ゆ r ®ep ゆ t

5Wicf|t boppelt f ゆ ihier も er? 20

gocft bid) ber ticfc §imme( tik^t,

！ Da さ feud^tt)crfl(irtc Slau ？

8o(ft bi ゆ bein eigcn Slngcfit^t

^iijt i)tx in ett)'gcn SEau?

！ Da« SBaffcr rcmf ゆ f, bad SBaffcr fd^tDoII, 25

お t， i り m ben nacftcn き ；
©cin §erj ttm ゆ さ i り nt fo fcl^nfuc^tdDolI,
9Bic bei ber giebftcn ®ru§*
®ic \pvad) iu ii)m, [ic fang gu i^nt ；
！ Da war ，さ urn il^n gefcfjcl^n : 30
§alb jog fie if)n, l^alb [an! er ^in
Uttb mvb nidjt mcf)v gefcl^n.

46. (0efan$ beir (^eifter ftl>er ben IPafferm

De« SDZenf^en @cclc

®(cicf|t bent SBaffcr :

SSom gimtnet fontntt e さ,

3um gimtnet fteigt eg,

Uttb h)ieber niebcr 5

3ur Srbc mu^ eg,

©Dig n)e ゆ feht ヒ

©trihnt Don ber り ol^eti,
©tcilen き etematib

J)er reine ©tragi, 10
！ Dann ftaubt cr ticbticfi
ひ ti aEBotfeniDellen

i

(Soctl^cs (Sebi^te,

3uTtt glattcn ぎ ete,
Unb Icid^t cmpfangctt,
SBallt cr Derf ゆ kiemb,
8e お rauf ゆ etib,
3ur 2^icfe niebcr.

！ Dcm ®turj entgcgcn,
©d^autnt cr unmutig
©tufcntDcifc
3um Slbgrunb.

3m flaxen Settc

©c^lcic^t er bad SBicfentl^al l^in,

Unb in bent glattcn ©cc

aaScibcn ゆ r 9lnrti お

9iac ©cftimc.

SBinb ift ber aSBcHc
Sicbtic^er Sutler ；
SBinb mifc^t Dom ®runb aug
@cf|(iuTnenbc SBogcn.

©eelc bed aWcnfc^cn,
SBic glcicfift bu bent 啊 fer!
©d^icffal be さ aJicnfd^en,
SBic gtcidift bu bcm SBinb!

47.

g さ mx tin faulcr ©chafer,
®n rccf|tcr ©icbcnfc^Iiifcr,
Qlju fuTntncrtc tcin @cf|af.

(Soctl^es <Sebid?ie.

gin aWSbc^cn lonnf ゆ it faff en,
！ Da h)ar ber Jropf t)crlaffcn,
き ort Slppcttt unb @cf|Iaf!

@ さ trieb H)n in bic き erne,
!Dc« 9?adE|t« ga^If cr bic @tmie'
@v Ilagf unb l^cinnf 卩ゅ brat).

5Wun, ba 卩 e iljn gcnommcn,
3ft alle さ tDicbcr lomnien,
Durft, appctit unb @c^tof*

48. tVanbvcvs nad^tlieb.

rtbcr alien ®ipfe(n

3ftt alien SBipfeln

©piircft bu

Saum cinen ©au ゆ；

！ Die SSogcIcin fcfjtDcigen im SBatbe.

SBartc nur, balbc

5Ru^cft bu cm ゆ，

ヶビ 49. Un CiNi,

' 5)cn ©T^igen, 8iba, tt)e(cf|cn bu lieben fannft,

Sorberft bu ganj fiir bi ゆ, unb mit 9icdE|t.
9ht ゆ ift er cin^ig bein.
5)cnn, fcit i6) t)Ott bir bin,
© ゆ emt mir bed fc^nellftcn 8cbcn«
giinncttbc SciDegung

5Rur cin Icirfjter き lor, tmr ゆ ben ゆ beinc ®efta(t

(Soetl^es <5ebt^tc.

^mntcrfort tt)ic in SBolfen crblid c :

®ic Icut^tct mir freunbtid^ unb treit,

SBic bur ん be さ 9?orbIi ゆ は bctDcglirfjc ©tral^tcn

StDigc ©tentc f ゆ hnmevn.

50. Crlfdni^. ""-

aSer reitct fo fpat burrf) 5«a ゆ t unb aBinb?
@ さ ift ber ajater mit feincm Sinb ；
gr l^at ben S^nabcn tDol^l m bent ^m, -
Sr fa^t ゆ It fitter, er り iUt ゆ it mm.

SUiein @o り n, h)a« birgft bit fo bang bcin ©cfid^t? 一
©iel^ft, SSater, bu ben Srtfonig nirf|t? ^
！ t)en Srtcnionig mit Sroti, unb ©d^tDeif ？ 一 た
aJJcin @ol^ti, e さ ift cin 9icbc(ftrcif. ―

liebe« S^inb, tovm, gel) mit mir ！
®ar f^onc ©pielc fpief mit biv;
Wlani) buntc Stumen ftnb an bent ©tranb ；
3Jieine 3Kuttcr l^at mati ゆ giilbcn ®ett)cmb."

SDZein SSater, mcin SSater, unb i^orcft bu n\d)t,
SBa さ grlenfonig mir leife tjerfprid^t? 一
@ei ruf)ig, bleibc ruf)ig, mem S'inb ；
3n biirren -SJlattern faufelt ber SBinb. 一

wSBillft, feiner Snabe, bu mit mir gel^n?
5Kcinc SEoc^ter foHen bi ゆ tDartcn f^on;
aKcine SEiJ ゆ ter fu^ren ben nadf)tlid^cn SKci^n
Unb tDiegcn unb tanjcn unb fingcn bid^ tin."

(SoctJjcs (Scbtc^te.

aRcin 3Sater, mcin SSater, unb 卩 e り ft bu tii ゆ t bort
grlfottigd Jorfiter am biiftcm Drt? —
aWein ©o^n, mcin @o り ti, iij fe さ, e さ genau :
& ft^cincn bic attcn SBciben fo grau. 一

„^6) licbc hx6), mid) rcijt bcine fd^onc ®efta(t ；
Unb bift bu ntd)t tdtlig, fo braut^' it^ ®ett)alt ノ'
3Rcin 3Sater, mem SSatcr, jcfet fa^t er mi ゆ cm!
grifonig り at mir tin 2tM ge ゆ cm 1 一

！ Dent SSater graufcW, cr rettct 9cfrf|tt)inb,
Sr ()(i(t in %xmcr[ tm さ ac^jenbc S*inb,
grrcid^t ben ^of mit aWii^c unb 5Kot ；
3it feinen Slrntcn bad Sinb mar tot

]/ 51. J>(xi <5 る midje. 、 二

gbet fci bcr aWetif ゆ,
§ilfrcicf| unb gut!
！ Dcnn bad attcin
Unterfd^cibct if)n
SSott alien SBefcn,
Die h)ir fcnncti-

§eil ben unbcfannten
©5f)crn SBcfen,
！ Cic tt)ir a^ncn ！
O^nen gtcid^c ber aWenf ゆ；
[®em Scifpiel te りビ im さ
luetic gtaubcn.

(Soe ゆ es (Scbi^tc

！ Dcnn unfiiljtcnb

3ft bic 9latur :

g さ ku6)ttt bic ©onnc

ttbcr «of unb ®utc,

Unb bcm SScrbrcc^cr

©Icin^cn, njic bcm Scftcn,

！ Der SWonb unb bie ©tcme.

SBinb unb ©trome,
！ Conner unb §agel
9tauf ゆ eti i^rcn SBcg
Unb crgreifcn,
SSoriibcreilcnb,
Sincn urn ben anbern,

Slu ゆ fo bad ®tM
SCappt untcr bic SDlcnge,
gagt balb bc« Snaben
Socfigc Unfc^ulb,
Salb audi ben fallen
©cfjulbigen ©cfieitel.

^aij ctDigcn, ゆ men,
Orogcn お en
2Ku[fcn tt)ir alle
Unferc^ ！ Dafem さ
Sreifc Dollenben.

5Rur aflein ber SKenft^
3Scnnag tm さ UnmSgtidie :
(Sr unterfrfjcibct,
m\)kt unb ricfitct ；
& fann bem Stugenblid
Daucr tjerfe ゆ ett

(SoetJjes (Sebt^te

gr allcin barf

！ Deti ®utcn lo^nen,

！ Den SiJfen ftrafen,

§eilcn Uttb rctten,

9lUc« 3^rrenbe, ®d^tt)cifcnbe

Sfimid) Dcrbinbcn.

Unb njir Derc^rcn

！ Die Utifterb 障 It,

911 さ iDciren fie SDlcnfc^cn,

^dttn im gro^cn, •

2Ba さ bcr Seftc im fleinen

J^ut ober mod^tc.

J)er cble aKenfrf)
®ei j^ilfrcid^ unb ' gut ！
Uncrmiibct fd^aff' er
S)a« giufeUrfic, 9?crf|te,
@ci im さ cin SSorbitb
Oencr gcal^nctcn SBefen!

52. 2ler Sanger.

SBad l^or' id) braugen t)or bcm 5E り or'
aaSa さ cmf bcr «riicfc fcfiallen?
8a6 ben Ocfang t)or unfertn Df)r
3m @aalc njibcr^atlen!
！ Dcr Sihiig fpra ゆ， さ, ber ^age tief ；
！ Der Snabc lam, bcr Sitaig rief :
gagt mir l^ercin ben 9ltten ！

<8oe ゆ es <Sebid?te.

©cgriigct fcib mix, cb(c §crm,

©egrii^t tf)r, f き tie ！ iDamcn ！

SBcI^ rcit^er ©immcl! ©tern bci ©tern ！

SBcr fennct i り re Stamen?

3m @aal t)oH ^rad)t unb ©errii ゆ feit

® ゆ Ik§t, Slugcn, cucf) ； り ier ift nicf|t 3rit,

@ic^ ftaunenb ju ergofecn.

5Dcr ©dngcr briidt' bic 9lugen tin
Unb fcfjlug in tjollcn Tontn ；
Die atitter fcfiautcn tnutig brcin
Unb in ben @cl^o§ bic ®c^5ncn.
J)cr SiJtiig, bem bad 8ieb gcfici,
2k% ifju ju cl^ren fiir fein @piel,
ginc golbttc Sette ^oten.

！ Die golbne S'cttc gieb mir ni ゆ t,
!Dic S^cttc gieb ben SRittcm,
SSor beren fiil^ncm Slngcfi^t
J)cr ^einbc ganjcn fplittcm ；
®ieb fic bem S^atyler, ben bu り a 卩,
Unb la 后 ゆ It nocf) bic golbnc 8aft
3u anbcrn Saften tragen*

■3 ゆ finge, tt)ic bcr SSogct fingt,
J)er in ben 3 加 eigen njo^nct ；
5Da さ gieb, ba さ cm さ ber S^cljlc bringt,
3ft 2ol)n, bcr rei ゆ tid^ (o^nct.
5Do ゆ barf ゆ bitten, bitf id) cm« :
8a 后 mir ben bcftcn Scd^cr SBeiti さ
On purcm Ootbc rcid^cn.

(Soctl^es (Sebi^te.

[& fe お t， i り n cm, cr trani i^n cms: ')
O Xranf t)oH fU^er 8abe ！
D h)o り I bcm l^od^bcgtiicftcn ©cms,
aBo ba さ ift Heme ®abc!
grgel^fd tui) ml)i, fo benit an mi ゆ
Unb banlet ®ott fo iMm, ate i ゆ
き iir biefcn Irunf eucf) banfe.

53. Qarfcnfjjieler.

SBcr fi ゆ bcr ginfamleit ergicbt,
31 ゆ！ ber ift balb adcin ；
gin jeber (ebt, cin jeber liebt
Unb la^t it)n fciner ^ein.

Qal la^t mi ゆ mciner Quat!
Unb fann i ゆ nuv cinmal
SRcc^t einfam fcin,
！ Datitt bin icf| md}t allcin.

@d fc^Icicf|t citt Sicbenbcr Iaufd)enb fa ゆ t

Db feme greunbin allein?

®o uberfrf|(cirf|t bci 5Eag unb 9?a^t

SOW ゆ ginfamen bic ポ eiti, •

SDWc^ Sinfamen bie Qual.

Sld^, njcrb' id^ crft einmal

ginfam im ®rabc fern,

5Da la^t fie m\6) atlcin ！

(goetl^es (Sebi^tc.

54. Zlerfell>e.

2Bcr nic fcin Srot mit SCl^ranen a§,

©er nic bic fummerDoCcn ^l&ijtt

3luf feinem Sctte tDeincnb

！ Dev fennt eud) tU ゆ t, i^r ^itnmlifcl)en ajjac^te.

^I^r- ful^rt tn« 8cbcn im さ l^mem,
3 り r lagt ben 2lnncn fc^ulbig h)crbcn,
Dcmn iiberta^t i り r ゆ it ber ^ein:
！ Dcnn alle ®cf|utb rft ゆ t fi ゆ auf (Srbetu

55. 3lmenau

am 3. (September 1783.

9lnmutig 2^^all bu ttnmcrgriiner gain!
3Kein §er3 bcgrii^t euc^ tt)icber auf bad beftc ；
gntfaltct mir bic f^h)cr bef)angncn tftc,
9le り mt frcunblicf) mi ゆ in cure © ゆ attett tin,
grquidt i)on curcn §5^n, am S^ag ber 8iet)， unb 8uft
aWit frifcficr 8uft unb Satfam memc Sruftl

SBic fc^rf i ゆ oft mit njed^fctnbcm ®ef ゆ ide,
gr^abner Scrg! an bcincn gu^ guriicfe,
O, tag mid) l^cut cm bcincn fa ゆ ten §5l^n
gin iugcnbtid^, cin tieue さ (Sbcn fe^n!
3^ ゆ l)aV e さ h)o^I cm ゆ mit urn eurf) tjerbicnet ：
3 ゆ forge 卩 ill, inbe^ if)r ru^ig griinct.

8agt mxij Dcrgcffcn, bag audi l^icr bic SBcIt
(go mand^ Ocfc^opf in @rbefe[fc(n り ftU,

<5octl^es (Sebi^tc.

61

！! Dcr atibmann Icit^tcm ©anb ben ©amen anDcrtraut 15
Uttb fcincn ^o\)l bent frcd^cn SBilbc baut,
！ Der Snappc Iargc« ©rot in S^Iiiften fu ゆ t,
！ Dcr So^Icr gittert, h)cnn bcr ^iigcr fluent.
SSerlUngt cud^ mir, h)ic il^r e さ oft Qtttfan,
911 さ fittg， iij ^eut cin tieite さ ？ cben an. 20

3 り r feib mir l^olb, il^r gihmt mir bicfc Jrftume,
@ic frfjmci^eln mir unb tocfcn altc ^Reimc.
〜3Wr h)iebcr fclbft/ Don alien aKcnfd^en fevti,
2Btc bab, i ゆ mid) m eurcn J)iiften gcml
aKcIobifcf) raufrf|t bic l^ol^c Jattne iricber, 25
SKcIobijc^ citt bcr SBafferfalt l^emiebcr ；
S)ic ©ottc finft, bcr 5«cbe( briicft m« 2： り at,
Unb e さ ift 3lai)t unb Damtnrung auf einmaL

finftcm SBalb, bcim giebe^blicf ber ©tcrne,
？ Bo ift ntcin ポ fab, ben forglo さ iij mlox? 30
SBel ゆ feftnc ©thrnnen 1^5 ビ x6) in bcr き erne?
©ic fc^aHcn njcc^fclnb an bent き ete 'mpov.

cUc fad^t, gu fe り It, e さ bebcutet,
©ic t)on be« §irfd^e さ $Ruf ber ^'Sger [tilt geleitet.

2Bo bin icf|? ift ，さ cin 3aubermiird^eTt-8(mb ? 35

？ Bet ゆ Ttfi ゆ tli ゆ e さ ®clag am gu^ ber gelfeniDanb?

Sci Hcinctt §uttcn, hiijt vxxt 9?ei さ bcbedct,

@ ゆ， iij fic frol^ cm さ geuer l^ingeftrccfet.

S さ bringt ber Olanj l^ocf) burrf) ben gid^tenfaat ；

3lm nicbcm §crbe loc^t cin ro り e さ SDZa^ (； 4。

®ie frfjcrjen laut, inbeffcn, balb geleeret,

Die gtafd^c frif ゆ im Si*eife h)ieberfef)ret.

62 (Soetl^es (Sebi^te.

©agt, torn Dcrglcic^' id) biefe muntrc ©c^ar?

SSott h)annett lotnmt fie? utn h)o^m gu gtcl^cn?
45 933ic ift an ゆ r boc^ atte さ munberbar ！

©oil id) fic grii^cn? foil i ゆ t)or ゆ r fKe^en?

Oft e さ bcr Oftger toilbe さ ®ci[ter^cer? ,

®inb'« ©nomcn, bic l^ier 3auberfihifte treibcn?

3 ゆ f ゆ， tm Sufcf) ber Heincti き eiter m ゆ r ；
so & f(^aubcrt vxx6), iij tDage faum, ju blcibcn.

3ft ，さ bcr tg^ptier oerM ゆ tiger Slufen ゆ alt? ' 〜"

3ft e さ citt pc^tigcr giirft tt)ic im Slrbentier-SBalt) ?

®oU id) SScrirrter ^ier in ben t)cr|c^Iungncn ©rtinbcn メ

！ Die ®eiftcr ©^afefpcarc« gar Derforpert fmbcn?
55 ひ ci, ber Oebank fiiljrt ntirf) cbcn red)t :

®ic [inb e さ fclbft, m ni ゆ t ein gleic^ ®cfcf|tcci^t!

Unbiinbig fcfinjctgt ein ®ctft in t^rcr SKittcn,

Unb bur ゆ bie SRof)eit fuf)f i ゆ cbic ©itten.

SBic ncnnt i^r ゆ it? SBcr i\t% bcr bort gebiidt
6o 9?a ゆ Wffig part bic breiten ©c^ultcm brttcft? , ,、.

& fifet 3Uttad)ft getaffctt an bcr き Icmune,

3516 marfigc ©cftalt cm さ aftcm §clbcnftamme.

@r faugt bcgtevig am geliebten SRo^r,

& ftcigt ber ！ Dampf cm fcincr @tim cmpor.
65 ©uttnutig trodcn tocig cr grcub' unb 8acf|cn
gangen 3h'fe( laut ju madden,

fficnn cr mit cmftUdf)eTn ©cfic^t

Sarbarifcfi bunt in frcmbcr SDluttbart \pxiijt リ、 '-ー

SBer ift bcr anbrc, ber 卩ゅ niebcr
70 2ln cinen ©tur^ beg altcn Saunter (el^nt
Unb fcinc totigen, fcingcftalten ®liebcr
gfftatifd^ faul na ゆ alien ©eitcn be り tit

(Soetl^es <5ebid?tc

63

Uttb, o^ttc bag bie <3e ゆ er auf i^n f)5rcn,

SDWt ®ciftc«flu9 PA in bic §o]^c fd^wingt,

Unb Don bcm 2^anj bcr l^imme ゆ ol^eit ©p^ftrcn 75

Sin monotone さ 8icb mit grower 3^tibnmp fingt ？

Do ゆ fc^cinct alien ettDCi さ gcbrcc^cn.
3^ ゆ l^orc fic auf cinntal tcifc fpre ゆ eti,
!Dc« ^Unglingd 9?u り e ni ゆ t }U unterbre^cn,
！ Dcr bort am gnbe, too bad I^at fit^ fd^tie^t, 80
3n ciner §iltte, (eic^t gqhnmert,
9Sor bcr cin fester SKd bc« Hcincn き euer さ frfjimtncrt,
SSom SBaffcrfaH umraufcfit, be さ tnilbcn © ゆ laf さ genie れ
2Wi ゆ treibt bag §crj, nacf) lener Shift gu tDanbcm,
Jd^tcidie ftitt unb fd^eibe Don ben cmbertu 85

ノ' ，

®ci tnir gcgrilgt, ber ^icr in fpiitcr 5WadE|t

©cbanfetiDoII an bicfer ©d^tDcCc nrnd^t!

2Ba« fitjcft bu entfcmt Don jenen き reubeit?

！ Du fd^einft mir auf nja さ 95Bicf|tigc« bcbac^t.

2Ba さ iff さ, bag bu in ©ittticn bt^ Dcriicrcft 90

Unb nic^t cinmal bcin flcined き eiter fc^iireft?

„に, fragc ni^t ！ benn i ゆ bin nid)t bcreit,

！ Dc« grcmbcn Slcugicr Id ゆ t }u ftiCen ；

©ogar Dcrbitt' id^ bcincn gutcn SBiKen ；

©icr ift ju frfjiDcigen unb ju Icibcn 3eit* 95

3^ bin bir ni ゆ t itn ftanbe felbft iu fagcn,

SBo^cr id) fei, h)cr mi ゆ ^icrf)cr gcfanbt ；

SSon frcmben 3oneTt bin id) l)ev Derf^tagcn ''

Unb bur ゆ bie 5?rcunbfc^aft fcpgebannt.

64 <Soe ゆ es (Sebid?te.

loo 2Bcr lennt fi ゆ fctbft? h)cr tot\% er Dcrmag ？

§at nic ber aWutigc SSertoegned untcmommen?

Unb h)a さ bu tf)uft, fagt crft ber anbrc Jag,

SBar e さ jum @^abcn obcr grommen.

8ic5 tti ゆ t ^romct^eu^ fetbft bic reinc §imtnctegtut
105 9luf frifc^en 2^ り on Dcrgotternb niebcrflic^cn?

Unb fonnt' cr me り r trbtfc^ SSlut ,

！ Durd) bie bclebten Slbem gic^en?

^ij brat^tc reined gcucr Dom Slltar ；

aBa« i ゆ cntjunbet, ift nirf|t reinc き tomme*
no !Der (Sturm Demcl^rt bie ©tut unb bic ©efal^r,

3 ゆ f ゆ hJcmfe Tii ゆ t, inbcm i ゆ mxij Derbamme ン

Unb h)cnn id^ untlug 50htt unb き rei り eit fang
Unb $RcbKrf|fcit unb grcil^eit fonbcr さ wang,
©tolg auf \xS) fdbft unb ^eqlic^e^ おゆ ageti,
115 SriDarb id) mir ber 9Kcnf(i)en frfjonc ®unft :
Do ゆ a ゆ ！ em ®ott Derfagtc ntir bic S^unft,
！ Die armc S^rnift, mi ゆ tunfttic^ ju bctragcn.
5Wun fife' i ゆ り ier juglei^ erl^oben unb gcbriidt,
Unfd^ulbig unb geftraft, unb frfjulbig unb bcgtiidt.

120 3> ゆ rcbe bcnn untcr bicfcm S)a ゆ
SRu^t all mem SBo り t unb att mcin Ungctnac^ :
gin cble« §erj, Dont SBegc ber 9?atur
Durrf) eitge さ @^icffa( abgeleitet,
！ Da さ, a り Timigg り oH, nun auf ber rcrfjten @pur

125 Salb mit ftd^ fetbft unb balb mit gauberf ゆ atteti ftrdtet
Unb, nmS if)m ba さ ©cf^icf bur ゆ bie Ocburt gefcfjcnft,
aWit aWtt り， unb ©d^iDci^ erft 3U erringcn benft,
Scin liebcDotlc^ SBort farm fcincn Ocift entf)uKen
Unb Icin ©efang bie l^o^en SBogen ftiHcn.

(Soetl^es (Sebic^te.

65

2Ber farm ber dtaupt, bic am S^ti^t frie ゆ t, 130

25on i り rem funffgen gutter fprc^en?

Unb tt)er ber ^uppe, bic am S3oben liegt,

2)ie jarte ©d^alc l^etfen burcfigubred^en?

g さ fomtnt bic ^tit, fie briingt fid) fdber lo さ

Unb eilt ouf gittigcn ber 9?ofc in ben ® ゆ o§. 135

®ett)i§, ゆ m geben aud) Me ^a^re

2)te red^te 9tid^tung feiner Sraft.

Sflo6) ift bei tiefer 9?eigung fur tm さ SEBa^re

3 ま さ rrtum tint gcibettfcfiaft.

!t)er aSomife locft t^n in bie SBeitc, 140

^ein gete ift ゆ m ju fd^roff, fein ©teg ju f dental ；

5Der UnfotI lauert an ber ©eite

Unb ftiirjt ゆ ti in ben 9lnn ber QuaL

2)ann treibt bie fd^merilicf) uberfpanttte 9?egung

©etDaltfam ゆ n balb tm, Mh bort l^hum さ, 145

Unb Don untnutiger SSctDegung

dtaljt er unmutig tDieber cm さ *

Unb bUfter tottb an ^extern 2^agen,

Unbanbig, り ne fro り px fein,

©d^Iftft er, an ©eef uttb 8eib Derrounbet unb jcrfd^Iagen, 150

9luf einem l^artcn 8ager eitt:

^Ttbeffen x6) り ier, [till unb attncnb ftmtn,

!t)ic Slugen ju ben freien ©temen fe り re

Unb, l^alb emad^t unb り aft im fcfjtDcren Xvauvx,

3Ktd| faum be さ fcfjtDercn SEraum さ em ゆ re," . 155

aScrfd^tDinbe, Srautn ！

SBie banf id), SIKufen, cu^!
2)a§ i り r tn ゆ l^cut auf einen や fab geftellet,
2Bo auf ein emjig SEBort bie ganje ®egcnb gleid^
3um f(^5n[ten iage \x6) cr^cllet ；

66 (Soettjes (Sebic^te.

i6o ！ Die SBoIfc fn ゆ t, ber 5RebeI fdttt,

！ Die ©d^attcn finb l^mtoeg. 3 り r ©otter, ^rcte unb SBonnc ！

6 さ leudEjtet tntr bie m\)vt Sonne,

@ さ lebt tntr eine fd^5nre SBelt;

J)a さ fingftlicfic ®t\xqt ift in bie 8uft gcrrotmcn,
165 ©n Tieue さ 8ebcn iff さ, e さ ift f ゆ cm (ang bcgonncn.

fel^c ^tcr, toxt man md) Icmger 9?etfe

3m aSateriattb \i6) iDtebcr fetmt,

®n ru^ig 25olf im [tiHen き Iei§e

S3enufeen, nm さ 9?atur an ®aben t^tn gcgonnt.
170 ！ iDer き aben cHet Don bem 9?o(fen ん

t)e さ JBeber さ rafd^etn ©tu^Ic ju;

Unb ®eil unb S'ubel toivb in liingrcr り - 、、

9?id|t am Derbrod^nen ©d^ad^te ftod en ；

& toivb ber SErug entbetft, bic Drbnung fcl^rt gurtid,
175 e さ folgt ®ebe ゆ n unb feftc^ irb'fd^e^ ®lU(f.

®o m5g', き ttrft, ber SBinfcI bcinc^ gcmbe さ
®n SSorbtIb bciner Zaqe fein!
Du fenneft lang bie ^flid^ten bcine^ ®tanbe6
Unb fd^rfinfeft nad) unb nad) Me freic @eelc em,
180 ！ iDer farm ftd^ tnancfien JBunfd^ getoft り reti,
J)er lalt fid^ felbft unb feinem SBitlen Icbt;
Wein tvev anbre tDo^l ju leiten ftre^C
3Ku§ fal^tg fein, Did }u entbc^ren.

@o iDanble bu 一 ber 8of)n ift md)t gering 一
i85 ^Hid)t fcf)tt)anfenb り in, wk jener ©tttnatm ging,
！ Da も batb cin- S'orn, be さ ぶ ufafl さ teid^te さ @piel,
§tcr ouf ben SBeg, bort gmifd^en T)ovncn fiel ；

(S'oe ゆ es (Sebic^te.

67

5Retn 1 ftreuc fhig jok rei ゆ, mit tnannltd^ fteter §anb,
！ Den ©egen au さ auf etn geadert 8anb ；
！ iDann Ia| eg ru^n: bie gmtc mirb erf ゆ eineti 190
Unb bt^ beglUden unb bic J)emcn.

56. 3 ま dnitn さ ♦

T)er aWorgeti fam; e さ f ゆ eud^ten feme 2^ritte
$Den leifcn ©d^Iaf, ber mid^ gelinb utnfing,
$Da§ x6), cvtoa6)t, au さ tneiner ftillen ©utte
！ Deti S3erg l^inauf mit frifd^er @cete ging;

frcute m\6) bci cinem jcbcn ©d^ritte 5
J)er neuen Slutnc, bte DotI Sropfen り ing ；
I)er jungc SEag e ゆ 06 \x6) mit gntjtiden,
Unb atte さ ttmr erqutdt, tnid^ ju erqutcfcn.

Unb tDtc id) fticg, jog Don bem き lug ber SBicfen
®n 5Rel)cI p ゆ in ©tretfen \ad)t l^er り on 10
6r to\6) unb n)ed^felte mtcf) }U umflicgcn,
Unb tou6)^ gepgcit mir um さ gaupt empor:
！ De さ f ゆ iftien SKd さ follf id) nicf)t tnc^r geniegen,
！ iDie ®egcnb betfte mir tin triiber glor;
Satb fa り \6) mx6) Don SEBoIfen n)te umgoffen 15
Unb mit tnir felbft in ！ Dammrung cingefd^Ioffen.

2luf cintnal fcfjien bic (Sonne burcfijubrmgen,

3m 9?cbe{ lieg eine S?tar り eit fel^n.

©ier fanf er leife fi ゆ ^mabjufd^totngen ；

©ter teilt, cr fteigenb ゆ urn SBalb unb §6 り 化 2o

SBic ^offf xi) xf)x ben crften ®xu^ ju brtngen ！

@ie り offf 16) na6) ber S^riibe boppett fd^ott.

68

(Settles <5ebid?te,

！ iDer tuft'ge S'ampf mx latige nicf)t DoHenbct,
(Sin ®lanj utngab micf), unb i ゆ [tanb gebtenbct

25 SSatb macf)te mid^, bie 3lugen aufjuf ゆ lageti,
(Sin tnnrer Srieb be さ ©erjen さ tDteber fU り n,
3 ゆ Jonnf e さ nur mit f ゆ tiellen S3licfen njagen,
！ Denn alle さ f ゆ ieti ju brennen unb ju glul^n.
！ Da fd^tDebte mit ben JBolfcn l^ergetragen

30 ®n gottlid^ SBeib Dor meitten 9lugen り hi,
Sein fcfjoner SSUb fa り xij in memem geben,
®ie fa り mii) an unb blieb DertDeilenb fcfjtDebcn.

S'ennft bu mtcf) ni(^t? fpracf) fie tnit einem 3Kunbc,

！ Dem aller 8ie か unb 2^reue Zon cntflog :
35 Srfennft bu tntcf), bie iij in tnand^e SBunbe

！ iDe さ 8ebeti さ bir ben reinften S3a{fam gog?

2)u tamft mx6) mljl, an bic ju ett)，gem SSunbe
• J)em [trebenb §eq fief) feft unb feftcr fd^Iog.

©a り bid) nt(^t mit り ei も en §eqen さ ゆ rtttiett
40 311 さ Snabe f(^on nad^ mir bid) eifrig fe り neti?

3a ！ rief id) au さ, tnbem x6) felig niebcr
3ur 6rbe fanf, tang l^ab， \6) bid) gefu^It ；
5Du gabft tntr dtn% totnn huv6) bie jungen ©lieber
！ I)te 8eibenfcf)aft fid) ra 卩 to さ burd^getDu^lt ；
45 ！ t)u り aft mir tok mit ^immlifd^etn ©efieber
2lm も eigen Sag bie ©ttrtte fanft gefii り it;
!t)u fcfjenfteft mir ber grbe befte ©aben,
Unb iebe さ ®IM n)ill burd^ bi ゆ nur ^aben I

5Dtcf) ntnxC id) nid^t* 3 加 り iir， id) t>\6) Don Dielcn
50 ®ar oft genannt, unb jebcr ^eigt hid) fetn,
©in iebe さ 3lugc glaubt auf h\6) ju jielen,
き aft iebem 3luge n)irt) bein ©tra^I jur や eitu

<8oetl?es (8ebid?te

69

9ld^, ba x6) irrte, り att， xij Diet ®efpielen,
！ Da x6) bid) fenne, bin id) faft attein ；

nxu^ mein ®IU(f nur tnit tnir felbft genie^en, 55
J)em l^olbc^ gid^t uerbeden unb Derfdpe^tu

@ic W ゆ elte, fie : T)U pe り ft, xoxt Hug,
S03ie notig ma ビさ, tu6) tDettig ju ent^UIIcn ！
^aum bift bu ficfjer Dor bem grobften Srug,
^aum bift bu §err Dom erften itmbertDttlen, 60
@o glaubft bu hid) fcfjon Ukrntenfd^ genug,
SSerfdutnft bie ^flid^t be さ aWatme さ gu erf uUen ！
2Bie Diel bift bu Don anbern unterfcfjieben?
(Srfenne Wd^, leb' mit ber SEBelt in ^ricben ！

SSerje ゆ mix, rief au さ, \6) memt， e さ gut ； お

©oil td^ umfonft bie 3lugcn off en ^aben?

®n fro り er JBille lebt m memcm Sdint,

S6) fenne ganj ben SBcrt わ on bcinen ®aben ！

き ttr anbre lud^ft in tnir ba さ ebte ®ut,

farm unb tDtll ba さ ^funb nidjt me り r り ergra6en! 70
SBarum fucfjf id) ben 2Beg fo fel^nfud^t さり oU,
JBenn x6) ゆ ti nicf)t ben ^riibcrn jeigen foU?

Unb n)ie mid) ba さ り o り e SEBefen

2J?it einetn SSM mitteib'ger 9?ad^ftd^t an;

fonnte tntcf) in i り rem 2luge lefen, 75
SBa さ i ゆ Derfe^lt unb nm さ \6) xti)t ge ゆ an,
@ie lacfjelte, ba mx \6) \i}on genefen,
3u neuen Reuben ftteg mein ®eift l^cran }
Oct) fonnte nun mit innigem SSertrauen
Widj ju if)r Ti ゆ n unb ゆ re 3l'dijt f ゆ auen. 80

(Soett^es <Sebid?te

Da rccfte fie bic §anb au さ in bic ©trcifcn
！ Der tcicfiten SBoIfen unb be さ ！ Duft« um^cr ；
JBie fie ttjn fagte, Itc^ er \i6) crgreifcn,
@r tie 后 ftd^ jie^n, e さ mar fern ^Rcbcl me り r*
3Rem 2lugc fonnf im S り ate n)teber fd^toetfcn,
®en gitnmcl Mid t， i ゆ, er mx ^cH unb l^el^r.
9lur fal^ x6) fie ben reinften ©deleter fatten,
(Sr flog urn fie unb f^toott in taufcnb galtcn.

fcnnc Md^, id^ fcnnc beinc ®6)toix6)en,
tt)ri§, tt)a さ ®ute さ in bir lebt unb gKmmt ！
一 @o fagtc 卩 e, i ゆ l^or' fie en)ig fpred^en, 一
gmpfange l^ier, ttm さ x6) bir lang' beftimmt!
3?ctn ©ludli^en tarn e さ an tiic^t さ gcbred^en,
！ Der bic^ ®cf^cnf tnit ftiHer ©ecle nxvmt :
9lu さ 3Korgenbuft gemebt unb ©onncnHarl^eit,
！ ©er J)id|tun9 ©ci^Ieicr au さ bcr §anb ber SB ゆ r り dt*

Unb tDcnn e さ bir unb bcincn ^xtnvbtn fd^mitle
2lm 3Ktttag iDirb, fo n)irf ゆ n in bic 8uft!
©ogtcid^ utnfdufelt 2l6enbtt)tnbc« Silicic,
Um^aud^t eucf) ffllumeti-SBttqgmtd^ unb ！ Duft.
@ さ fd^n)eigt ba さ SEBel^en banger ©rbgcful^le,
Sum SBoHcnbette nmnbett fid^ bic ®ruft,
S3efanfttget tt)trb jebe 8cben^n)ctlc,
2)er jag mirb liebtt^, unb bic Sfta6)t toixh l^ellc.

®o fommt benn, き reimbe, totm auf curcn SBcgcn
$De さ Scbcn^ ^ttrbc fd^tDcr unb fd^tocrer britdt,
SBenn cure S3a^n ein frifd^cnteuter ®cgen
aWit SSIutnen jiert, tnit golbncn き rild^ten fd^mtttft,

(Soetl^es (5ebtd?te

71

SBir ge^n わ ereint bem tia,ti 2^ag entgegcn 1
®o leben tt)ir, fo n)anbeln tDtr 6egtiUft, no
Unb ham an ゆ foil, totm SnIcI 賺 mi さ trauem,
3u ゆ rer 8uft nodj^ unfre giebc baucm.

67. HTiditon*

Sennft bu bfi さ （ 8anb, n)o bie Sitronen Miil^n,

Qvx bunfcln^!2aub 'bic OoIb^Drangen glul^n,

gin fanftcr JBinb Dotn blauen ©imtnel tot\)t,

！ Die 3K^rte fttll nnb l^od^ ber ？ orDecr ftel^t,

Sennft bu e さ n)o り I? 5

！ Da^in ！ ！ Da^in
3Kod^f id^ mit Mr, o mtxn ©dtcbtcr, jiel^tu

S'cnnft bu ba さ §cm さ？ 9luf ©ftuteti ru^t.fem ！ Dad^,
ほさ g(an}t ber ®aal, e さ fcfjitntnert ba さ ®emad^,
Unb 3Kannorbilber ftcl^n unb fe^n m\6) an :
2Ba« l^at man Mr, bu arme さ Sinb, get^an ？ lo
^cnnft bu e さ m\)l?

IDaljin I ！ Da^in
3K5d^f id^ mit bir, o mem Oeltcbtcr, jie^n.

^cnnft bu ben Serg unb feinen SBoIfenftcg ？
$Da« a^auttier \ni)t im 9^ebet feinen .SBeg ；
3ti ^ol^ten n)o]^|it ber ！ iDrad^en atte お rut ； 巧
g さ ftuirjt ber f^efe unb ilber i り ti bic glut.
Scnnft bu t^n too り I?

！ ©a^in ！ IDa^in •
®c り t unfer JBcg ！ o aSatcr ！ lag wti さ jie り ti.

(Soetl^es (Sebic^tc.

58. Iliefelbe.

©ci^ mx6) nid)t rcben, l^et^ ft^tDctgen,
！ Denn metn ®el^einmi さ t[t mir や pid^t ；
Si) tnod^te bir mcin ganje^f Entire gctgcn,
aUein ba^ ©d^idfal toiU e さ nid^t.

3ur re ゆ ten ^eit Dcrtreibt bcr ©onne 8auf
！ Die finftve 3lad)t, unb fie tnug 卩 e ゆ etteti ；
！ Der り arte き さ fd^ttegt feinen S3ufcn auf,
SBW^gonnt ber 6rbc n\6)t bie tieftjerborgnen Qucllcn.

(Sin ieber fucf)t im %m be さ ？ Jreunbc^ SRul^,
！ Dort fann bie Sruft in S'lagen fid^ ergiegen ；
9ltletn ein @ ゆ nmr brudt mir bie gippen ju,
Unb nur cin ®ott Dermog fie aufjufd^ltc^en*

69. Iliefelbe.

5Wur tDer bie ®e り nfud^t fennt,

SBeig, ttm さ id) leibe ！

Slllem unb abgetrennt

2Son alter き reube,

@e り， id) an さ き irmatnent

9lacf) jener ®eitc.

9ld|! bcr mx6) Itcbt unb fcnnt

Oft in ber JBeitc.

(S さ fd^tDtnbelt mir, e さ bvennt

3Wem ©ingctDeibe.

9?ur tvev bie @e り nfu ゆ t fennt,

JBeig, nm さ i ゆ leibe ！

(Soett^es <5ebid?te

73

60. Ilem Kcfevmann.

^ad) bcbcdct unb leidfit ben golbcnen ©atncn bie き urd^e,
©liter 1 tie tiefere bcdt enblidt) bein ru^enb ®cbem.

grol)Ii(^ gcppgt unb gefdt ！ §ier feintet lebettbtge 9? ゆ nmg,
Unb bie ©offmmg entfemt )elbft Don bem ©rabc \x6) nxd)t

61. Perfd^lebcnc <Em)?fin5un$en an einem

Das m a b cf? c n.

り ab， tf)n gefel^en ！
SBie tft tnir gcfcfjel^cn ？

gr fommt miv entgcgcn ；
tDeidfic り eriegen,

■3 ゆ irre, id) trfiume ！
■3 り r き elfeti, ゆ r 观謂 e,
SBerbergt memc き reube,
aSerberget mein ®IUcf !

D er 3 a n g I i n g.

§ier mu^ td^ fic finben!
Sd) fa り fie Derf^tDinben,
■3 り r fotgte mem ^ticf.
®te fam mir entgegen,
！ Dann trat fie Derlegen 巧
Unb fcfjatnrot jurucf.
3ft ，さ goffnung ？ jitib ，さ Sriiume ？
■3 り r き elfen, i^r ®aume>
gntbedt mir bie giebfte,
gntbccft tnir mein ®Iucf ! 20

5

10

(Soetljes (Sebi^te.

D er Sdimadfttnhe.

§icr Hag， x6) tjevborgeti
！ Dcm tauenben 3Korgen
2Wem cinfam ®ef ゆ icf.
SScrlannt Don ber aWengc,
SBie jiel)' x6) hi さ Sngc
卿 ftille jurUd ！
£) jdrtltd^c <SeeIc,
O, fd^tDeige, Dcr^e^le
J)ie en)igen Seiben,
aSe 柳 e bein ®tU(f ！

Dcr 3 a a e r.

@ さ lol^net mid) ^cutc
ajjit boppelter SSeute
(Sin gutc^ ©cf^td.
！ ©er reblidt)e ！ ©tencr
SSrtngt §afen unb §ii り ner
SSelaben juriicf.
©ier fbU)， i ゆ gefangen
9ludt) aSogel nod^ l^cmgen!
g さ lebe ber ^agcr,
6 さ lebe fein ®Wcf!

62. Crftcr Perluft.

91 ゆ, tDcr brittgt bic fc^5nen XaQC
3enc SEage ber crften 8tebe,
^d)r tvtv bringt nur einc (gtunbe
Setter ^olben geit jurlicf ！

<5oett^es <5ebtc^te

75

(Sinfam nil りビ \6) meine JBunbe, 5
Unb tnit ftet さ emeuter Stage
Zxaux' x6) um さ tjerlomc

9lcf), totx bringt btc ft^bncn XaQt,
3ene l^olbe 3eit jurUd ！

63. <9eniatifd) tZveiben*

®o iDdlj' jdt) o^ne Unterla^,

JBic ©emit SMogetie さ, mem き a 羾

Salt) i[t e さ gmft, balb ift @pa も ；

Satb ift e さ 8iet)，， balb ift e さ ©a^ ；

Salb ift e さ Me さ, kib ift e さ tm さ ； s

m ift tin 9? ゆ は unb ift em SBa さ.

@o tDdlj' id^ o^nc Untcrla^,

2Bic ©an ほ J)togene^, mein gag*

64. Un ben Qevfo^ ^arl Ku^uft*

mom, ben as. Sluguft 1787.

I)u forgeft freunbltdt) tnir ben ^fab

SUJit 8ieMmg さ Mrnneti ju beftreun.

©till ゆ atig banle bir mein 8ebcn

き iir atte さ ®utc, は a さ bu mir crjeigft*

gtigft bu baju bie @orge fur M ゆ fetbft, 5

@o ge ゲ id) o^ne SEBunfcfie fro^tid^ l)\n.

3)cnn nur getncinfam SBol^t begtiWt SSerbunbene.

(Soctt^cs (Sebic^te.

65. TXmov alB tanb^dtafismaUv^

©a^ \6) frul^ auf einer き etfenfpi お e,
@a り tntt ftarrcn 9lugen m ben 9?ebel ；
SBie em grau gnmbierte さ Xni) geft)annet>
I)ecff cr aUe さ in bic Sreif unb §o^e.

©tellf em Senate fi(^ ntir an bic @cttc,
©agte : Stcber き reunb, tok tnagft bu ftarrcnb
9luf ba さ leere SCu ゆ gefaffen fd^auen ？
©aft bu bcnn jum 5Kalen unb jum S3tlben
2lIIc 8uft auf en)ig mo り I Derloren ？

©a り idE) an ba« S'inb unb badfjte ^eimlid^ ：
SBitl ba さ 观 bd^en bo ゆ ben aWeifter tnad^en 1

SEBHIft bu itnmcr triib unb mii^ig btetbcn,
©pracf) ber Snabe, fanti m6)t^ 奶 uge さ mcrbcn ：
@i ゆ, xi) n)tll bir gleicf) ein ®ilbcf)en malcn,
D ゆ em pbfd^e さ S3ilbcf)en malcn lel^ren,

Unb er ricf)tctc ben geigefinger, 、
！ Der fo x6tlx6) toax tok einc $Rofe,
9?ad^ bem tDeiten au さ gefpannteti SCeppi ゆ,
ging tnit feinem ginger an ju jcii^nen :

Dben mat ビ er eittc fd^onc ©otme,
J)ie mir in bte 9lugen mfid^tig gliinjte,
Unb ben ©aunt ber SBoIfen tnacf)f er gotbett,
8tc5 bie ©tra^Ien burcf) bie SBoIfen brittgcn ；
9Kaltc bann bie jarten, leicfjtcn JBipfel
grifcf) erqutcfter Saume, 309 bic ©iigel,
gtnen nai) bem cmbern, frci ba^tnter ；

(Soett^cs (5ebid?te

77

Unten Itc^ e ビ さ ntcf)t an SBaffcr fc^Icn,
3eicf)nete ben fo ganj natiirti ゆ,
J)a5 er fc^ten ttn ©onnenftra^I ju gti お ern,
5)a6 cr fd^ten atn り o り en dtani ju raufc^en. 30

崎 ba ftanben Slutnen an bent gluffe,

Unb ba iDarcn き arben auf ber SOSicfe,

®o(b unb ©d^tnclj unb ^urpur unb em ®rttne さ,

SUIe さ tt)ic ©maragb unb tDte Sarfunfel ！

§et( unb rein lafierf er brauf ben §immel 35

Unb bie blaucn ^ergc fern unb femer,

J)ag ゆ, ganj entjudt unb neu geboren,

Salb ben Staler, balb ba さ SSilb bcfd^aute.

^aV ii) \>o6), fo fagf er, bir beiDtefen,

®a§ i ゆ biefe^ §anbtt)erf gut り er 卩ゆ e; 40

®oc^ e さ ift ba さ ®d^tt)crfte no6) iuvMc.

3etd^nete bamadt) mit fpi お em ginger

Unb mit grower ©orgfatt an bem SEBiilbd^ctt,

®mb an さ Snbe, ido bie ©onne Mftig

SSon bem l^efien ®oben tDtbcrgianjte, 45

3eid^nete ba さ allerltebfte 3Wfibd^en,

SOSo^Igebtlbet, gierltd^ angeHeibet,

き rifd^e SBangen miter braunen §aaren,

Unb bie SOSangen iDorcn Don ber き arte

JBie bad gingerd^en, bad fie gebtlbet. 50

D bu ^nabe 1 rief id^, tDcIcf) ein SKcifter
©at in feme ©d^utc bid^ genotntnen,
！ ©a 后 bu fo gefd^minb unb fo tiatiirli ゆ
Mt^ Hug begmnft unb gut t)ollenbcft?

78 (5oetF?es (Sebid?te.

55 ®a x6) nod) fo rcbe, 卩 ゆ, ba ri ゆ ret

ein SEBinbcficn unb fiemcgt bte ®tpfcl,
^raufclt alk SBeHen auf bem gluffc,
gutit ben ©deleter be さ Doltfommncn 9Kiib ゆ en さ,
Unb, ttm さ mxiS) ©rftaunten tne^r erftaunte,

60 gangt ba さ aJZdbcfien an, ben き u 后 ju rii^rcn,
®e^t }u fommeti, nal^crt fi ゆ bem jOrte,
SEBo td^ mxt bem lofen Sel^rev p お e.

®a nun alk さ, atte さ f ゆ bcmegte,
^aurne, glu^ unb あ htmen unb ber @ ゆ Icier
65 Unb ber gartc き u 后 ber 9ltlerf(^5ttften,

©taubt ゆ r tt)o り I, i ゆ fet auf tncmcm き rifeti
SEBie ein き elfeti fttU unb feft gebliebcn ？

Die (5 leid^gultigen.

Somm tnU, ®dt)one, fomm tnit mix jum SCanje ；
Sanjcn gel^oret pm feftlicf)en SCag.
SSift bu metn © ゆ afe ni^t, fo lannft bu e さ njerben,
SBirft bu e さ ntnttner, fo tanjen n)ir bo ゆ.
5 ^omm mit, ®d^5ne, fomm mit mir jutn 2^anje ；
Sanjen Der り errlid^t ben feftltd^cn SEag*

Die gar tlidjcn.

C) り tie bi ゆ, giebfte, Mxtn bte gefte ？
C) も Tie bi4 ©ii^e, ma さ Mxt ber SEanj ？
SBiirft bu mcin @cf)afe tiid^t, fo mocf)t' td^ nid^t tanjcn,
10 ^letfift bu e さ immer, ift geben ein き eft,
O^ne bid^, Siebfte, tomn bte gefte ？
D り ne bid^, ©Ugc, さ to'dxt ber Janj ？

(SoctF^cs <Sebtd?te.

Die (Sleid^gftltigett.

8a5 fie nur Itcben, unb la^ bu mi さ tattsen ！
©djtnad^tcnbe ？ iebe tjermetbct ben Janj,
®cl)lmgen toix frol)Ii(^ ben bre り etibeti dtei\)tn,
@cl|lctd^en bie anbem jum bdmmernben 2BaIb»
Sag fic nur Iteben, unb la^ bu im さ tanjen I
®d^macf)tenbe gicbe Dermeibct ben Sang.

Die ^drtlidicn.

8a5 fic fief) bre^en, unb la^ bu rni さ iDanbeln ！
SOSanbeIn ber gicbe ift l)immltf(^er SCanj.
2lmor, bcr na り e, er ^oret fie fpotten,
$R(icf)et fief) eintnal unb rft ゆ et \\6) bath.
8a5 fie fid) bre り en, unb lag bu un さ ttmtibelti ！
SBanbcIn ber 8iebe ift ^tmtnlifcf)cr Sanj.

67. Un bic Cntfcrntc.

©0 り al)， id) iDtrftid^ bid^ tjcrlorcn?
S3tft bu, @(^6ne, tntr entflol^n ？
5Ro(^ fimgt in ben getool^nten O^rcn
®n iebeg SEBort, ein jeber $£on,

@o tDte be さ SEBanbrcr^ SSM am aJZorgen
9Scrge6cn^ in bic guftc bringt,
SBenn, in bcm blauen dtaum Derborgcn,
^o6) itber ゆ m bie gcrd^e fingt :

@o bringet iingftltd^ り in unb mieber

！ Dur^ き eft) unb «ufd^ uttb SSalb tnein md ；

jDtd^ rufen alle tneme Steber ；

O, ん mm, ©clicbtc, mir gurtid ！

(Soetljes <Sebtd?tc.

^6), n)a さ foil ber STOenfc^ tjerlangcn ？
■3ft e さ beffer, rul|ig bleibcn ？
Slammcmb fcft anguliattgctt ？
3ft c« beffcr, fid) }U trcibcn?
©oil cr \x6) tin ©iiu さめ ett bauen ？
®oU cr unter ^tUen Icbcn ？
©oil cr auf bie gelfcn traucn ？
©clbft bie feftctt gelfcn bcbcn*

@me« fi^idt fi^ nic^t filr alle!
®el|c jcber, toxt er ，さ trcibe,
©cl^c jeber, m er bleibe,
Unb totx ftcl|t, bag cr ni(t)t falle ！

69. ^vinncvnn^.

SBillft bu immcr writer fd)tt)cifen ?
©iel^, ba さ ®utc licgt fo nal|,
Sernc nur bag ®IM ergrcifcn,
！ Dcnn bad ®IM ift immer bcu

70, Hopm^^^^ tub.

®cl|, gcl|orc^c mciticn SBinfen,
9?u^ bcine iungcti Sage,
8cmc gcitig Hiiger fciti :
Sluf be« ®IU(fc« grogcr aBagc

(Soetl^es (Sebtc^te.

©t ゆ t bie grnige fcltcn eiti ；
2Du mu^t fteigctt obcr fitifcn,
！ Du mu^t i|crrfd^ctt unb getomnen,
Dbcr btencn unb Derlicren,
geiben obcr trtumpliierctt,
Slmbog obcr §ammer fern.

71. ^pi^vammc*

aSenebig 1790.

SBie man ®elb unb 3«t bert&an,
3eigt bad SSttd^Iein luftig an.

S)icfcm 2lmbo6 Derglei ギ x6) ba« 8anb,bctt gammer bem§crrfc^er^
Unb bcm a?oIfc bad isiec^, tm さ in ber STOitte fid) frummt.

SB ゆ e bem anncn Sdhi) I njenn nur n)ilttiirlid^c ®d)Iage
Ungctui^ trcffcn, unb nie fertig bcr S^cffel erfd)emt.

2.

3Ka ゆ e gum §errfd)cr fid) ber, ber fcincn SSortetl tjcrftcl^ct:
！ Ood) n)ir U) ゆ Itett un« ben, ber fic^ auf unfem t)erftcl|t.

3.

SBeld^ctn SWabc^enic^ ti)iinf(t)c guliabcn? il^rfragtmi^. ^Jc^l^ab'fic,
2Bie id) fie n)iinfd)e ； bad ^eigt, biintt mtc^, mit njcntgem tjicl,

9ltt bem SKcere gitig id) unb fud)tc mtr SJhif ゆ et 化 ciner
ganb \6) em ^crtc^cn ； e« bicibt turn ntir am ^crgen Dcmal^rt,

SSicIc^ l^ab' ic^ Dcrfud)t, gcjcic^nct, in Su|)fcr geftoc^cn,
DI gcmalt, in Zi)on f^aV i ゆ auc^ mcmd^eg gebrudt,
Unbcftanbig jcbo^ unb ttic^t さ gclcrnt noc^ gcleiftct ；

82 (Soetljes <5ebic^tc.

5)Rur citt cinjig ^^alcnt brad)f tc^ bcr SWcifterfd^aft nal^ :
15 !Ccut[d^ ju fc^retben. Unb fo tjerberb' id) unglucfltt^cr S5tt^tcr
Qn bctn fc^Icd)tcftctt ©toff Icibcr turn Scbcn unb ^nft

5.

0em ift Utttcr ben giirftcn ©crmanten^ frcific^ bcr meinc ；

S^urj unb fc^mal ift fein 8anb, ntdgig tiur, cr Dermag,
Slbcr fo njenbc nad) innen, fo tucnbe nad^ au^cn bie ^riiftc
20 Qthtx ； ba ビ g citt geft, ！ Dcutfc^cr ntit ！ iDeutftftcn 3U fcin,
2Do め さ |)ric[cft bu bett SCl^atcn unb SBcrfe t)er!unben ？

Unb beftodien crfd^ien bcinc aSerel^rung DicQcid^t ；
©cnn tnir i|at cr gegcben, toad ©ro^e feltcn gcn)al|rctt,

^Jeigung, SKufee, SScrtraun, gclbcr unb ©artcn unb §au«.
25 Sliemanb brau ゆ t, xi) }u banfcn at さ 3 り in, unb mature さ beburff

！ Dcr 16) mid) auf ben (Sraerb f ゆ tec^t, al« citt J)t(^tcr, Dcrftanb,
§at mtd^ (Suro^ja gelobt, n)a さ i|at mir @uro|)a gegeben ？

5>Hc^ お ！ Qd) l^abe, toic \d)totx ！ meinc ®cbtd)te bejal^tt
5Dcut[^lanb al|tnte mic^ m6), unb granfrcid^ tnod)te mi ゆ tefcn.
30 gnglanb 1 frcunblic^ ctn^jfingft bu ben jcrrfittcten ®a\t
！ Dod^ tt)a さ fdrbcrt c« mi ゆ, bag cm ゆ fogar ber gl^incfc

aWalct mit ftttgfttt ゆ er ^anb Scrt^crn unb gotten auf ？
^imaU frug eiti Saifcr nac^ mir, e さ l^at fid^ Icin ^5nig

Um 禍 belUtntnert, unb @r 請 mir 31 零 ft unb 2Raccn.

6,

35 @me さ STOcTifd^ctt Scbcn, ift ，さ ？ J)o^ Jaufcnbc fonticn
Sieben uber ben 5Watm, toa さ cr unb mt e ビさ gettian*
SBenigcr ift citi ©cbic^t ； boc^ fonneti e さ S^aufcnb gcnicgen,
S^aufcnbc tabettu SKcin grcunb, Icbc tmr, bid^te nur fort ！

1.

SlHc grci^ctt^ctpoftd, fie mxtn mir imtner gutDtbcr ；
4o SBiflWr fuc^te bocf) nur jeber am gnbe fitr ftc^*

'L?

で，

(Soetf^es (Sebtd^te

83

SSillft bu Dicle bcfrcin, fo wag, eg, Diden gu bienen.
2Bie gefii^rlid) bad fei, njillft bu eg njiffen ？ SSerfu ゆ， さ 1

8.

^otttge tDolIen ba さ ®utc, bie ©emagogen be^gleic^cn,
®agt man ； bod) irren fic fid) : ま enfd^ett, ad), ftnb ftc, tote xoiv.

9?ie gclingt eg bcr 3J?cnge, fitr fid^ gu njollen ； toxv n)i[fcn'« : 45
2)0 ゆ, totv tjcrftcl^ct, fiir mi さ allc wofleti, er jeig, さ ♦

9.

granfreic^^ traurtg ©ef^id, bic ©ro^en mogen'^ bebcnfcn ；
2lber bebenfen fiima^r follen e さ Sleinc nod) m ゆ r.

©roge gingcn }u ®runbc : bod) njer bcfc^it^jtc bie aj?engc
®cgen bic 3)?cnge ？ ®a njar aJJcngc ber STOcnge 2： り ratm. 5。

10.

2^oIIc ^txttn \)aV id) erlebt unb l^ab' nic^t crmangctt,
©clbft aud^ ゆ iJric^t }u fcin, tok e さ bie ^dt mix gcbot.

】l.

gange {)aben bic ©ro^eti ber grangcn @|)racl)e gef れ o ゆ eti,
©alb nur geac^tet ben 3Kann, bcm fie Dom SKunbc nid)t flog.

5Wun lallt atle さ 9SoIt cntjiidt bie ©pra ゆ e bcr き ranfeti, 55
3iinict, SBW ゆ tige, md)t ！ ©a さ ゆ r Dcrlangtet, gc[c^icl|t

12.

SaSaf tc^ citt l^au さ ゆ e さ SBeib unb l^iWe, i め bebUrftc,
SCrcu fcitt tDoflf i ゆ unb fro り, l^crjen unb fUffen ben 3Jiann.

@o foTig, Utttcr anbem gcmeincn Siebcm, cin ©irnc^cn
SOltr in SScnebig, unb nie l^orf id) ein frotntncr ®ebct. 60

13.

SBunbcm fann e さ mic^ nid^t, bag 3Kenfd)cn bie §unbe fo liebcn,
©enn em erbdrmUd)cr ®d)uft ift, tok ber SWcnfc^, fo ber §unb.

84

<5oe ゆ es <5ebic^te

14.

2Ba さ mit mir bad ©c^idfal gctooQt ？ (5 さ todrt Dcmcgcn,
J)a« }U fragcn ； bcnn ntcift tt)itt e さ mit t)tclctt nic^t Did.
65 ginen J)ic^tcr }u bilben, bic 3lbftc^t iDft ビ il^tn gelungcn,
§fittc bic (Bpra6)t ftc^ nxd)t uniibcmmblic^ gcgcigt.

72,

Sent Don gcbitbctcn SWcnfc^cn, am @nbc be さ $Rctc^c«, ttjer l^ilft eixt^
®d)(ifec finbcn unb fie glitdltd^ bringcn cm さ 8i ゆ t ？

9?ur SSerftanb unb 9icbli^feit l^elfen, e さ fttl^rcn bic bcibcn
©d^IUffel ju Jegli ゆ em ®d^a お, n)eld)cn bie grbc Dertoa り rt*

5

10

15

73. 2Ue Spvobc.

2ltt bctn rcinften griil|tmg«morgcn
®ing bic ®d)ttferin unb fang,
Sung unb f ゆ iJti unb ol^nc ©orgcn,
S)a§ e さ burc^ bie gclbcr Hang,
®o la la! Ic raQal

2： りり ま bot ゆ r fur citi 3»fiu^cn
^tuei, brci ©d^af^cn glei^ am Drt,
®^alfl|aft blidtc fic ein SSeit^en ；
®oc^ fie fang unb la6)tt fort,
®o la la I Ic valla ！

Unb cm anbrcr bot i り r ^Bftnbcr,
Unb bcr britte bot fcin §crj ；
5Do ゆ fic tricb mit §crg unb ^anbcm
®o tok tnit ben gdmtncm ®d)crg,
9?ur ta la ！ le raUa 1

<5oe ゆ es (Sebic^te

74. 2Ue ^efelirte*

^Bct bent ®tangc bcr Slbcnbrotc
®mg ic^ ftitt ben 9Batb entlang,
！ Damon fa^ unb Mie さ bie glotc,
®a6 e さ Don ben gclfen Hang,
®o la la!

Unb cr jog nttd^, ac^ 1 an 卩ゅ ntcbcr^
^Ugtc mid) [o l^olb,. fo fiig.
Unb tc^ fagte : ^Btafc tDieber ！
Unb ber gute き零 blic^,
®o la la ！

aKcinc JRul^c tft 画 tjcrlorcn,
SWeine greubc flol^ baDon,
Unb id) ]^5rc Dor tncmcn Dl^rcn
^ntmcr nur ben altcn Jon,
®o la la, Ic ralla* u, to.

76. Un Me Srtt^al^lte.

©anb in §anb ！ unb Jgi ぽ auf き e ！
8tcbe« Sroabc^cn, blctbc treu ！
8cbe n)ol|l! unb mem き ^Ixppe
gai^rt beitt Siebfter nod) t)orbci ；
Sbcr tDcnti cr drift ben §afen,
3la6) bcm ©tunne, njieber griigt,
SWogen il^n btc ®btter ftrafcn,
SBcnn cr o り tie bic^ gcnicgt.

<5oe ゆ es <5ebtd?tc.

折 if ゆ gctuagt tft fd)on gcnjonnen,
§alb tft fd)on tneitt SBcrl t)olIbrac^t ！
©tcmc Icu(l)tctt tnir tok ©onncn,
9?iir bent geigen tft e さ 9?ac^t.
SBdr' id) mUgig bir jur ©cite,
S)rU(fte no^ ber Summer tnt^ ；
S)od^ in aUcr biefcr SBcite
SBirf id^ rafc^ unb nur fUr bi^.

©c^ott ift tnir tm さ gefunbcn,
2Bo toxx einft gufamtncngelitt
Unb ben ©tront in Slbenbftunbcn
®anft l|tnutttcrgleitcn fel|n,
®tefe せ a 沖 ehi auf ben SBicfen,
3)tefc ^Bud^cn in bcm §am!
2lc^, unb tiittter alien btcfen
SBirb bod) auc^ cin ^itttd^cn fcin!

76, ndt^e <SeUebten«

■3c^ benfe beiti, tuenn miv bcr Sonne ©d^tnttncr

3Som aJleere ftr ゆ It;
bcnfc bcin, totm \x6) beg 2>ionbc^ glimmer
Qn QueUen malt.

Q6) fct)e bid), mm auf bent femen SBcge

3)er ©taub fic^ t)ebt ；
3n tiefcr Slad^t, menu auf bem [d^malen ©tcge

®er SBanbrer bebt.

<5cve ゆ es (Sebtd?te.

Qd) l^orc bid), tDcnn bort mit bum^jfctn 9iaufd^en

S)ie 麵 e fteigt.
fttUcTi §ame g ゆ， x6) oft ju laufc^cn,
SBcnn atle さ f ゆ toeigt,

Qd) bin bei bir, bu feift and) no6) fo feme,

S)u bift mir nal| I
2)tc ©onnc finft, balb Icud^ten mir bic ©terne*

D, toarft bu ba ！

77. nteeres Stitte*

S^iefc ©tille l^errfc^t int SBaffer,
0\)ne SRegung vui)t ba さ 9Jlcer,
Unb befilmtnert fiel^t ber ©c^iffer
®Iattc gldd^e ring^um^er.
Seine 8uft わ on feiner @eite ！
Jobe^ftiUc furditcrlic^ ！
Sn bcr u 零り euerti SBcitc
SRcget fcinc SBeMe fid).

78, (Rludlidtc 5^ お trt*

S)ie 5Wcbel gerrei^cn,
S)cr ^ttnntel ift l|eUe,
Unb SoIu« lofet
3)a« angftlt^c «anb.
(g さ faufeln bie 9Bmbc,
& rit^rt fic^ bcr ®d)iffer.
®e[(j^n)mbc 1 ©cfc^tDtubc I
@ さ teilt fid) bie SBellc,
@ さ na^t fid) bie gcrnc ；
©diott fey id^ ba さ 8anb!

88

<5oe ゆ es <5ebic^te

79. UU^i& nnb T^ova*

31 ゆ ！ unauflialtfam ftrcbct ba さ © ゆ iff mit jcbcnt SWomentc

S)ur ゆ bic fd^aumenbc lut tDcitcr unb njeitcr り hiau さ 1
Sangl^m furc^t fid^ bie ©eleife be さ Siete, worm bie J)el|)l|mc

®|)Vmgenb folgcn, al« flo^' il^ncti bic ^Beutc baDon,
5 3llte さ bcutct auf gtttd ti ゆ e き a り rt : ber rul^igc 迅 oot さ matm

9iu(ft am ®egel gcimb, bad fid) fur atte bcmiil^t ；
SSortDdrtd bringt ber ©c^tffcnben ®eift, n)tc glaggenunb 2BiTiH)cI;

©tier nur 卩ゆ t rUtfttjfirt さ traurig gcmcnbet am 3Wa[t,
©iel^t bic :33erge fc^on bitm, bic fc^eibenben, fic^t in bag SWeer fie
lo 9?ieberfmfen, finft jeglid^e grcube Dor ゆ tn.

2luc^ Wr ift e さ Dcrfd^tuunben, ba^ © ゆ iff, ba« beincn 3lte ささ,

®ir, ！ Dora, ben grcunb, ac^ 1 bit ben Srautigam rtmbt*
3luc^ bu bttdcft Dergcbcn^ tia ゆ mir. 9?oc^ f ゆ lageti bic §crgctt

gUr ctnanbcr, boc^, ad^ 1 nun an ctnanbcr nic^t m ゆ r*
15 Stnjiger 3lugenbfi(f, in tDcIc^ent \i) tebte ！ bu wicgcft

2lllc S^agc, bie fonft fait mir Dcrfc^tDmbcnbcn, auf.
21 ゆ ！ nur im Slugettbtid, tm tcfetcn, fticg mir cin Scbcti

Untjcmtutct in btr, xo\t tjon ben ®ottem, l^erab.
9?ur tttnfonft Derfliirft bu mit bctnetn St^tc ben Stiver ；
20 ！ Deitt allteuc^tenbcr Jag, ^l^obud, mir t[t cr Dcrl^agt,
3n m ゆ fclber fe りビ i ゆ guvUd ； ba ujiQ ic^ tm ftitlen

S55icberl|olcn bic ^tW, ate fie mir tdgfldCi erfd)ien.
9Bar tnogli^ bie ©d^i^nl)cit gu fel^ti unb ni^t ju empfinbcn ？

SBirftc ber j^imtnUfc^c SReij ni^t auf bein ftunt|)fe^ ®emiJt ？
25 ^lage bic^, 9lrmcr, ntd|t an! — ®o legt ber ！ ©tester cin JRatfel,

Siitt[tli(f) mitffiortcTi Dcrf^riittlt, oft ber aScrfammlung in さ D り i*.
Scbcn frcuet bie feltne, ber gierlic^cn Silbcr SJcrfniipfung,

Slbcr no^ fcl|lct bad SBort, tm さ bic ^Bebcutung Dcmatirt.
3ft e さ enbti^ cntbedt, bonn l^eitert fid) jcbe« ©ctniit auf

(goetf^es (Sebic^te.

89

Unb crblttft itn ©cbtc^t ioppdt erfrculic^cn ©inn. 30
mtnm fo f^jfit, Slntor, tia り mft bu bic Sinbe,

i)tc bu um« Slug' mtr gc!nii|)ft,na]^in[t fie ^p'dt miv tjintoeg ！
gangc fd)on l^arrte bcfrad)tct ba さ ©c^iff auf gUn[tigc ？ Uftc ；

gnbli あ ftrcbtc ber SBinb gludlt^ Dom Ufcr m さ 3Kccr.
Secre griteti bcr O^^S^t^t^ I unb Iccrc Srauntc ber 3^tonft ！ お

3f]^r DcrfditDtttbct, e さ blcibt cingig bic ©tunbe mtr nur.
3a, ftc bleibt, e さ bleibt mir ba さ ©tUd ！ ic^ l^altc bic^, ！ Dora ！

Unb bic goffnung gcigt, J)ora, bcin ^Btlb mtr allem.
SDfter fal^ ic^ jum 2^entpe( bid) g ゆ ti, gcfc^mildt unb gcfittct,

Unb bad SWtttter ゆ en gtng fderlid^ nebcn btr l^cr. 40
©tig tDarft bu unb frtfd^, gu 3J?arIte bte grud)tc ju tragen ；

Unb Dom ^Brunnen, tvic Bf)n ！ toicgtc bcm §avLpt ba« ©efiig.
！ Da crfc^tcn beiti ©ate, crfc^ien bcin ^aien Dor alien,

Unb Dor alien crfdiieti beincr S3eti)cgungcn ^SJla%
Dftmal さ l|ab' id) geforgt, e さ miJd^tc bcr ^rug bir cntftiirgcn ； お

！ Do^ er l^tclt fid) ftet auf bcm germgettcn S£u ゆ ♦
©d^onc 9?a お aritt, ja, fo toax gctDOl^nt btc^ ju fallen,

SBic matt bic ©tcme ficl|t, tok man ben STOonb fid) befd)aut,
©i ゆ an il^nen erf r cut, unb inncn im rul^igcn S3ufett

5)lic^t ber entfemtcfte SBunfc^, fic ju bcfi^cn, fic^ regt* 50
^al^rc, fo gtngt tl^r bal^in ！ 9?ur gmanjio ® ゆ ritte getrcnnct

SBaren bte ©tiufcr, unb nie l)aV id) bic (BdjtvcUe bcrttl^rt.
Unb nun trcnnt un« bie grftp ゆ e glut ！ 5Du liigft nur ben ^inttnct,

aOBclIc ！ beiti tierrlic^c^ S3tau tft mtr bie garbc bcr 5Rad^t
5lUe さ rill^rtc fic^ fd)on ； ba fam cin ^nabc getaufcn 55

3ln mcttt DiUetkc^^au さ, ricf ntic^ jum ©tranbc l|mab.
®d)on crl^cbt fid^ bad ©cgal, e さ flattcrt im SBinbc, fo f^jrac^ cr,

Unb gcltc^tct, mtt ^raft, trennt fi^ bcr 3lnfcr Dom ©anb.
Somm, Sllcfid, fomm ！ 2Da brudtc ber toad ere SSater

SBilrbig bic fcgncnbe ©anb mir auf ba« lodige Qanpt ； 6o

90

(Soetf^es (Stbxdfte

©orgltc^ rcic^tc bic SDluttcr em nac^bcrcitctcd Sunbel :

©lUdflid) fclire gurud ！ riefen fie, gliidlid) unb rd ゆ ！
Uttb fo {(^ り htmeg, tm さ ^Bunbctdiett unter bent 3lnnc,

2ln bcr SOtouer ^inob, fanb an bcr 2： り lire bid) [te^n
65 ！ Deme« ®arten«. ®u Wd|clteft tnir unb fagteft : 5lteji« ！

®tnb bie Sdrtnenben bort betnc ®e[ellcn bcr き a り rt ？
grcmbe Siiftcn befuc^cft bu nun, unb foftlic^c SBarcn

©anbdft bu em unb ® ゆ mud rcic^cn STOatronen bcr @tabt.
3lbcr bringc mir ouc^ tin hx6)M S'ettd^cn ； id) toxU e さ
TO IDanfbar jai|len : fo oft l^ab, id) bic ^kxie gctDUtifd^t ！
®tel|en mx id) gcbliebcn unb fragte, nai) SBeife be さ ^aufmannS,

®rft tm ゆ gorm unb ®en)id^t bctner SeftcUung genau.
®ar befc^cibctt ertuogft bu ben ポ rei さ ； ba blidt' ic^ mbeffcn

3la6) betn §alfe, be さ ® ゆ mud さ unfcrcr S'dntgin tt)crt,
75 geftiger tontc Dom ©t^iff bag ®efd)rct ； ba fagteft bu freunbtit^ :

TOntm mi さ bem ©arteti nod) citiigc gruc^tc tnit Mr!
3ixvm bie rcif [ten Drangen, bicnjei^engeigen; bad 3Jicer bringt

Seine き rtt ゆ te, fic brmgt iegti ゆ e さ ganb nic^t l)crt)or.
Unb fo trat ゆ tiercin. J)u brad^ft nun bic grudE)te gefd^dftig,
80 Unb bic golbcttc 8a[t }og tm さ gefdiiirjtc ®ett)attb.
£)fter« bat id) : c« fei nun genug ！ unb immer nod) cmc

@d)oncre gruc^t fid bir, (eifc bcrul)rt, in bie ^anb.
gttbU^ famft bu jur 8aubc titnan ； ba fanb p め cm ^orbd^en,

Unb btc SW^rtc bog bliil^cnb fic^ uber utt さ り itu
85 Sc^tDcigcttb bcganncft bu nun gefd^idt btc ^d^tc ju orbncn :

@r[t bie Orange, bie \6)mx ru り t, at さ cm gotbcncr SaH,
！ Dann bie wctc^Itd^c geigc, btc jcbcr J)ru(f fd^on cntftellet ；

Uttb tnit SO? り rte bcbcdt tparb unb gcjtcrt bad ©cfd^enf,
Slbcr ic^ り ob e さ nit^t auf ； \6) [tanb. SBir fa^cn emanber
90 3tt bic 3lugen, unb mir loarb Dor bem Suge fo trub.
QDcincn Sufcn fu^ft' ic^ an mcincm ！ IDcti ^errtu^en Sicufen,

(Soctf^es (Sebic^tc.

91

■3 り ti umfd^Iang turn mein 5lrm ； taufcnbmal fii ぎ ic^ ben §at«;
3Kir fan! ubcr bic ® ゆ utter bein §aupt; nun fnu|)ften and) bcine

giebfid^cn 2lrme ba さ S3anb tun ben Segludten l|crum.
Slmor さ giittbc fiil^lf tc^ : er brildf mt さ genmltig ^ufamtnen, 95

Unb au さ l^etterer お uft bonnerf e さ breimd ； ba flo^
igiiufig bte SEl^rane わ om Slug, ntir l^erab, bu ttjcintcft, xij tpcintc,

Unb t)or unb ®IM fd^icn uii さ bte 9BeIt }u Dergctjtt.

3mntcr l^eftigcr ricf e さ am ©tranb ； ba mUttn bic gUge

ajitc^ md)t tragen, id) rief : ！ Dora ！ unb bift bu nx6)t mein ？ loo
giDig ！ fagteft bu Icife* 5Da fdjicncn unfcrc Jl^rclncn,

2Bic burd) gotttic^e 8uft, Ictfc tjont Sluge gel^aud^t.
9?(i]^cr rief ed : 2llcfi« ！ 5Da Mid te bcr [udjenbc S^nabc

！ Durc^ bic Sl^urc herein, 9Bic er tm さ ^orbd)en etnpfing ！
SBie er mtc^ trieb ！ 2Btc ic^ bir bic §anb noc^ briidte ！ 一 ©d^iffc 105

2Btc id) gefommcn ？ ^i) tot\% bag id) cin S^runfener fd^ien,
Unb fo t)icltctt mid) auc^ bic ©efctlen, fc^onten ben き atifen ；

Unb fd^on bcdtc ber §au ゆ triiber Sntfernung bic ©tabt.
gmig ！ ！ Dora, ttfpcWeft bu ； mtr fd)allt e さ itn Dt)re

ajiit bcm ！ Dotmer be さ 3eu さ ！ @tanb fie ioij nebcn bem Jl^ron, no
©cine Xodjttx, bte ©otttn ber 8tebc ； Me ©rojicn ftanben

Ql)x jur ©eitcn ！ gr ift gotterbefraftigt, bcr 33unb ！
D, fo cite bcnn, ©c^iff, mit alien gitnftigcn SBinben 1

©trebe, tttad^tiger 傲 ri, trenne Me [cf)dumenbc glut ！
^Bringe bem frcmben §afen mid) ju, bamit mtr ber ©olbfc^ntibt 115

Qn ber SBerlftatt gleid^ orbtie ba さ l^immlif ゆ e ^fanb.
ffialirlict^ ！ ^ux S^ettc foH ba さ tetti^cn njcrben, ！ Dora ！

5Reuttmal umgebe fie Mr, loder gewunbcn, ben §al さ ！
gcmcr [d^off' id) nod) ©c^mutf, ben tnannigfaltigften ； golbne

©pangen foQcn bir and) rcic^Itc^ tjergicren bte §anb : 120
Da ttjcttctfrc 9iubm unb ©tnaragb, bcr lieMid^c ©a^jl^ir :

©telle bem © り acintl^ fid^ gcgcnitber, unb ®oIb

92

<5oe ゆ es <5ebtd?te

§alte bad (Sbclgeftcin in fd^oner SSerbinbung gufamtnen.
O, tote ben Srautigatn frcut, cingig gu f ゆ mUdfeti bie ^Braut I
125 @ ゆ， id) あ erlen, fo bcnf x6) an bic^ ； bet iegtic^cm 9ltngc

^ommt mir bcr liinglid^cn §attb fd^onc^ ®ebilb in ben ©inn.
2^aufc^ctt n)iU x6) unb faufen ； bu foII[t ba« @d)onfte わ cm allem
2Bal|len ； id) tDibtnctc gem aQc bie gabung nur Mr. —
S)oc^ tttc^t ©c^tnud unb ^unjctcn allein tjerf^afft bein ©cUcbter:
130 SBa さ em l^iiu さ K ゆ e さ SBcib frcuct, ba さ britigt cr bit au ゆ.
gcine ttjotlene J)c(fcn tntt ^urpurfdumen, eiti 8agcr

3u bcrcitcn, ba^ utt さ trauU^ unb we ゆ H ゆ cmpfiingt ；
tdftltc^cr gcititoanb ©tudfc. 3>u ftfecft unb nii^cft unb ficibcft
3Kii) unb bi ゆ unb ani) —I noc^ tin britte さ imreiti.
135 ^Bilber bcr ^offnung, taufc^ct mem ^erg! D, tna^iget, ©otter,
！ Diefcn gctoaltigen Sranb, bcr mir ben ^ufcn bur^tobt ！
Slber auc^ fic Dcrlang' id) gurild, bie fd^tnergli(i)c gi^eubc,
SBcnn bic ©orge fic^ fait, grcipd) gelaffcn, mir nal^t
3lx6)i bcr gritttt^en き add, bad SSellcn ber l^ollift^cn ^unbe
140 ©d^rcdt ben SScrbred^cr fo in bcr SScrgtuciflung ®cfitb,
21I« bad gcla^c ©efpcnft mi ゆ f ゆ red t, ba さ bie ©^onc Don fern mir

^eiget : bic Jprc ftel^t tDtrflt^ be さ ©artett さ nod) auf ！
Unb cin anbercr fommt ！ gUr tl|n au ゆ fallen bie き rii ゆ te ！
Unb bic geigc getua^rt ftarfcnbcn ©onig and) ゆ m ！
145 8o(ftfic au ゆ il^n nac^ bcr 8aube? unb folgt er ? D, tnac^t vx\6), i り r
©otter,

©fitib, Demifc^ct bad S3ilb Jcbcr grinnrung in mir ！
Qa, cin aWab^cn ift fic 1 unb bie fid) gcf^njinbc bem eincn

®iebt, fie fcl^rct ft^ au^ fdincll gu bcm anbem り erum,
8ad^c ttt^t btc^tnal, 3eu«, bcr frc^ gcbroc^enen ®d)tt)urc ！
150 ！ ibonncrc \6)xtdix6)tx ！ SCriff ！ ― ©altc bic S3tifee guriid ！
©cnbc bic fd^ttjanlenbcn SBoHcn mir na^ ！ nftd^tlid^cn 5DunfeI

Jrcffc bciti Icud^tcnbcr S3Iife biefen ungHlcfli ゆ eti 3Kaft ！

<5oe ゆ es <5ebtc^te.

93

©trcuc bic'^anfcn utn^cr unb gieb ber tobenbcn SBcQc
S)icfc SBareti, unb mid) gteb ben J)clpl|mcn gum SRaub 1 ―

3tm, ゆ r SDhifett, gcnug ！ SScrgcbcnd [trebt ゆ r ju fd^ilbcm, 155
2Bic fi^ ^^amtner unb ®Iii(f n)ed)feltt in licbcnbcr Sruft.

^citen fimnet btc SBunbcn i り r tti ゆ t, Me 3lmor gcfc^Iagcn ；
5lbcr ginberung fotntnt citigig, ゆ r ©uteti, Don tn6).

80. Xenien*

\. Dcr propljet.

©(^abc, bag bie 9?atur nur ctnen aWctifd^cn au さ bir fd^uf,
！ Oenn jum njitrbtgen SWann h)ar unb ^unt ®d)elmcn bcr ©toff,

2. Dcr purtjl.

©tnnreid^ bi[t bu, bic ®|)rac^c Don frctnbcti SBortcm ju faubcm :
3lnn fo fa^e bod^, greunb, tok man ^ebant und t)crbcutfd)t,

3. IDer glaubt's?

„9?ctt)tott l^at fic^ gcirrt ？" Qa, bop|)clt unb breifad^ ！ „Unb tok 5
benn ？"

Sange ftel^t e さ gcbrudt, aber e さ lieft e さ feiti aWenfd^.

'k. itn bie pljilifler.

き reut euc^ bc« ©c^mettcriing^ ntd^t, ber 538[eti)id^t geugt cud^
btc 9iaupe,

！ Die cuc^ bctt l^crrti^ctt ^o\)l, fa[t au« ber ©cpffet, tjerjel^rt

5.

SBaS tft bad ©c^ttjcrfte Don aHcm ？ 9Ba« Mr bad gci^teftc biinfct,
SJlit ben Slugen ju fel^n, Dor ben Slugen bir ticgt, 10

6.

Stage tt)arft bu bcm gbetn unb bticbcft bod^ ber Sllbcme ？ 9?(il^cr
3Bar ゆ m bcr ®tul|l, m cr fag, aber er blicb nur cin @tul^t*

94

81. 2)er ^({inefe in Hont«.

gtnen S^incfcn fal| x6) in SRotn ； bie gcfamtcn ©cbdubc
Sitter unb ttcuerer ^txt fc^ienen ゆ m Idfttg unb fd^mer.

I fo feufjt' er, bic SlntiCTi! id) り offe, fic foUcti bcgrcifcn,
SBic crft ©ttulc^ctt Don §oIg tragcn beg ！ Da ゆ e さ ©ejcit,
5 Dag on fatten unb happen, ©efd^nife unb butitcr SJcrgoIbung
bc« gcbUbeten Slug さ fcmcrer @inn nur crfreut.
©i ゆ e, ba glaubt' i ゆ, hn 迅 ilbe, fo tnattd^ctt © ゆ warmer ju
fc^auen,

J)er fcin luftig ©cfpinft mtt bcr fottbcn 9?atur
gtuigcm Ztpp\6) わ ergleid^t, ben ed)tcn, rcinen ©cfunben
lo ^ranf nennt, bag ja nur c r り ei§e, bcr Srattfe, gefunb.

82. 2)er SOtaif^vdhcv.

Slmt am Scutel, Iranf am gevjcti
®d)Ie|)|)f \6) tncine langeti S£agc.
Slrmut tft bic grogtc ^lage,
atci^tum ift bag り 5 き ®ut ！
5 Unb, }u cnben metne ©d^mcrgen,

©itig i ゆ, cincn ©d^afe ju grabcn.
aWeinc Seele follft bu り ateti!
©c^rieb id) り in mit eignem Slut.

Unb fo gog id) ^rcif urn Srcifc,
lo ©tetttc tDUttberbarc ^lammcn,

S^raut unb S'no ゆ etttuerf jufammcn :
！ Die 53cf(^tt)orung mx DoUbrad^t
Unb auf bic gelcmtc SBeife

(Soctt^cs <Scbtd?te.

®rub id) nad) bcm altcn ©辆。

2luf bcm angejeigtcn やき :

@ ゆ ttmrj uttb fturmifd^ toav Me yia6)t

Uttb id) fa り em 8i ゆ t t)on iDciten,
Unb e さ fam gleid) cinem @teme
©inten cm さ bcr fcmftcn き erne,
(Sben al さ e さ jiDotfc f ゆ tug,
Uttb ba gait Icin SSorbereitcn,
§cUcr tt)arb，g mit ememmale
9Son bem ®Ianj bcr t)otIen @d^atc,
！ Die cin fd^oncr Sitabc trug.

©olbe 9lugctt fa り id) btinlcn
Utttcr bic^tem ©lumcnfrangc ；
Qn be さ Sranlc^ §imme(«glattje
Srat er in ben ^rei さ herein,
Unb er t)ic§ m ゆ frcunblid) trinfen ；
Unb i ゆ ba ゆ t ，： @ さ faun bcr Stiabc
aWit bcr fd)oncn K ゆ ten ®abc
Sa^rtid) nid)t bcr 53ofe fern.

ZxxnU 3Kut be さ rcincn Scben« ！
！ Cann t)crftc^ft bu bie Sele り rutig,
S^ommft mit angftlidicr Sefd^morung
9WdE|t jurud cm biefcn Drt.
®rabc り ier nid^t mcl^r t)ergcbcn«,
Stage さ 9lrbcit, 2lbcnb« ®aftc!
©aurc SBodEien, fro り e gcfte ！
@ei bein fiinftig SauberiDort*

(Soeit^es (Scbt^tc.

83. Un Sdtitlcv.

SKit einer Keinen mineralogifc^en ©ammlung. Sena, ben 13. 3uni 1797.

Dcm §crrcn in ber SQStiftc bra ゆ t，
J)cr ©atcm cinen ©tein
Unb fagtc : §crr, bur ゆ bcinc 3)?a ゆ t
8a§ e さ em 55rotd^cn fcin!-

2Jon t)ielcn ©teincn fcnbct bir
Dcr grcuttb cm aihtftcrftttd,
^bcctt gicbft bu balb bafiir
•3 り m taufenbfadEi gurild.

84. tier 5auberlet{rlind,

©at ber altc §ejcnmciftcr
®id) bodEi einmal iDcgbcgcbcn ！
Unb nun fotlen feme ©eiftcr
3luc^ TW ゆ memem SBillcn Icbcn-
©eittc 2Bort， unb SBcrtc
SKerft, id) unb ben SSxau6),
Unb mxt ®cifte«ftarfc
$E り u， i ゆ S33unber ani).

aWcm ゆ e ©trccfc,
！ Cafe, iVLVX 3tt)e(f e,
SaSaffcr flicge

Unb mit reid^em, tmttem ©d^ttmtle
3u bem Sabc fid) ergie^c.

(5oetI)Cs (Sebi^te.

Unb nun lomnt, bu alter Scfcn I
yixvm bic \6)k6)ttn gumpcnpllett ；
®ift fc^ott tangc ^ncdE|t gciDcfcn ；
9hm erfilllc ntcmen SBttlcn ！
2luf jlDei Scinen jle^c,
Dben fci cm ^opf ！
(Site nun unb gel^c
3Ktt bcm aSaftcrtopf ！

SBaHc I iDaUc
3D?and)c ©trcde,
J)a あ 3tt)eife,
SaSaffer fliegc

Unb mit reidEiem, t)oltcm (Sd)tt)aKc
3u bcm 53abe fid) crgicgc.

©e り t, cr Iftuft 3 麵 Ufer niebcr ；
SBal^riidEi ！ tft fd)Ott an bcm き titffe,
Unb mit ©titje さ f ゆ nelle toicber
3ft cr l^icr mit rafdE|cm ©uffc,
©d^Dtt jum jiDcitenntale 1
SBie btt さ Secfctt fd^toitlt I
S33ic fid) iebc ©d^ate
aSoU mit SBaffer fuat I

©tel^c 1 滩！

！ Ccnti roxx ^aben

J)ctttcr ®abctt

SSoHgcmcffen ！ ―

91 ゆ, x6) merf e さ ！ SB ゆ e 1 iDCl^c ！

©ab, idEi bodE) ba さ SSSort t)ergeffcn ！

(Soettjcs (5ebtd?te

31 ゆ, ba« SBort, iDorauf ant Snbc
@r ba さ iDirb, nm さ cr gcttjcfcn.
31 ゆ, cr lauft unb britigt bct)Cttbc ！
2Bdrft bu bodE) bcr alte Scfcn ！
^Jnuner ncue ©itffc
©ringt cr fd^netl ^crcin,
21 ゆ！ uttb tjunbert gluffc
©tiiqen auf mi ゆ tin.

3lm, m6)t ISngcr
^ann id^ さ laffen ；
讓 it)tt faffcn,
き ift ZUde 1

2lc^, ttUtt iDtrb mir tmntcr biingcr !
2BetdE|c 3Kienc ！ idcIc^c 讀 e !

D, bu 2lu さ grturt bcr §me 1
®otI bag gan^c §au« erf auf en?
(Set)' id) iiber Jebc ©c^lDcKe
!Do ゆ fc^on aSSaffcrftrbme laufcn.
(Sin わ erruc^ter Scfeti,
®er nic^t f)oven tvxU ！
®to(f, ber bu gcttjcfcn,
(Stcf) bod) toiebev ftill!

讓卩， さ am @nbc

®ar nid)t laffen?

讓 b ゆ faffctt,

讓 bidEi tjaltcn

Unb ba さ atte §0(3 bct)cnbc

3Kit bcm fd)arfett Seite fpaltcn.

(Soett^es (Sebic^te.

©cl^t, ba fontntt cr f ゆ teppenb njtcbcr ！
2Bic id) mid) nur auf ix^ iDcrfe,
®Ux6), Sobolb, Itcgft bu tiicbcr ；
Srad^cttb trifft bic glattc ©c^firfe,
SB ゆ riic^, brat) gctroffen ！
©ef)t, cr ift ctttjlDci 1
Uttb nun lann ic^ ^offcn,
Uttb iii) otmc fret!

SB ゆ e! ID ゆ el

Scibc Zdk

©tc^tt in ©Ic

©c^on ate ^ncd^tc

mUiq fcrtig in bic ©ot)c!

§elft mir, adE) ！ il^r ^ol^cn 3Ktt ゆ te ！

Unb fie lauf cn ！ unb niiffcr

SBtrb'd im @aat unb auf ben ©tufcn-

SBe ゆ， cntfcytc^c« ©etoiiffer ！

©err unb SJJciftcr ！ り i5 ビ miti) rufcti 1 一

9ldE|, ba fomntt bcr SWetftcr ！

©err, bic 3lot ift gro^ ！

！ Die id) rief, bic ©eifter,

SBcrb' i ゆ nun nic^t to さ，

ひ tt bic @(fe,
«c[ctt ！ ©cfctt 1
©eib ，さ gclDefcn.
SDenn al« ©cifter
SRuft euc^ ttur, ju feincm S^tdc,
(grft ]^ert)or bcr alte 3Keifter,"

85. 5cr 3unddefell nnb bcv 2nat{tbaci{.

aSo iDtttft bu, Hares Sac^Icin, l^in
®o munter ？

！ Cu eilft mit fro り em, Iri ゆ tem ©inn

9Ko« fuc^ft bu cilig in bcm 2： り al?
®o l^orc bo ゆ Uttb fpridE) cinmal I

Q6) mv tin Sii ゆ leitt, ^unggcfctl ；
(Sic ^abeti

Wd) [o gcfa^t, bamit i ゆ [d^ncU
3nt ©rabcn

3ur 3D?il^(e bort ^inuntcr foil,
Unb imntcr bin i ゆ rafdE) unb t)otI,

(Sefell.

J)u etieft mit getagnent SKut
3ur 灣 le

Unb mx^t tti ゆ t, im さ id) iunge さ ©tut
§tcr filmic.

ほさ Micft bic [c^5nc 3»Utterm

SBol^t freunbltc^ manc^mal nac^ bir り m?

Bad?.

©ic offnet friit) beim SKorgetifi ゆ t
！ Cett Sobctt

Unb fomm ち i^r licbc^ Slngcfic^t
3u baben.

Qljx ^Bufen ift fo t)oII unb iDcig ；

6 さ iDtrb tnir gleic^ gum ！ iDain(xfen り eife.

(Soctt^es <Se5t^te.

©efell.

Satttt fic im SBaffer gicbc^glut
gtttjiittbeti,

2Bic \oU man 9iu り mit き leif ゆ unb Stut
SBo^l finbctt ？

aBcnn man fic einntal nur gcfcl^n,
2lc^! imnter mu§ man nad) ゆ r g ゆ n*

Bad?.

！ Catttt ftUra' id) auf bic SRttbcr mid)
議 Sraufcn,

Unb alle ©c^aufeln brcl^en fic^
©aufen.

(Scitbcm bad fc^one 3D?abd^en f ゆ afft,
§at audEi Im さ ©affcr bcgrc ^raft.

©efell.

SDu 9lrmcr, f 嘴 t bu nic^t ben ©d)tnerj,
S33ic anbrc ？

©ic la ゆ t bid^ cm unb fagt im ©c^erj :
9?utt tt)attbrc I

@ie t)ielte bi ゆ iDol^l fetbft juriid
3Kit cittern fii^en 8iebe«bti(f ？

Bad?.

aWir iDirb fo fc^tt)er, [o fc^iDer, t)ont Drt
3u fliefeen :

3* ゆ frtimntc mid^ nur fac^tc fort
35urd) aOSiefctt ；

Unb lam' e さ crft auf m ゆ nur cm,
！ Cer SBcg toax" balb jurudget^on.

102

®c[ctlc tncmcr giebe さ qua"
50 Qd) [c^cibc ；

SDu murmelft tnir t)ictlct(f|t cintnol
3ur grcubc.

®t\i, fag' ゆ r gletc^ unb fog' ゆ r oft,
aSaS ftitt ber tnobc iDunfc^t unb l^offt

86. Sdttvci}cvalpc,

SBar bo ゆ flcftcm bcin ©aupt noc^ fo braun xok btc Socfc
ber gicbcn,

J)erett り olbe さ ©cbilb ftitt cms ber gcmc tnir lomft ；
©itbcrgrau bcjcidittct bir frii^ ber ©c^ncc turn btc ®ipfel,
Dcr \xd) in fturmcnbcr 3lad)t bir um ben ©d^citcl crgog.
5 3*ugetil), ad) ！ tft bcm Sitter [0 tia り, burd^ さ Scben Dcrbutibcn^
S33ic citt bettjegtid^er Zxanm ©cftcm unb §eutc t)crbottb.

87. tUe Viln^a^ctcn.

Oft in ttcfctt SOSintcmiic^tctt
5Rief id) an bic り often aWufcn :
Seine aWorgcnrStc Icuditct,
Unb e さ toxU fciti S^ag crfdicmcn :
5 3lber bringt ^ur re ゆ ten ©tunbc

SWir ber iampt fromnt ©elcud^tc,
S)a6 c«, ftott 9litro ビ unb Wbu さ
SWcinctt fttKctt glctg bclcbc ！
®oc^ fie lichen mi ゆ im @(^Iofc,

(Soctf^cS (Scbt^te.

J)utrH)f unb unerquidfi ゆ, ticgen,
Unb nac^ icbcm f paten SlWorgcn
gotgten ungcnufete Xa^t.

SDa fidEi nun bcr き rU り Htig rcgtc,
©agf t(f| gu bctt 9ladE|tigaKctt :
gicbc Slac^tigatlctt, fc^Iaget
grul^, friif) ！ わ or meinem き enfter,
SBecft ntidi cm さ bent t)otIcn ©c^Iafc,
J)cr ben ^iingling madEitig fcffcit,
^06) bie Ueberfatltett ©anger
！ iDc^tttctt ttad)t« わ or meinem gctiftcr
3 り re ftigen SKelobien,
§ieltett tDac^ bie Itebc ©eelc,
9?egten partes neite さ ©e り tien
9lu さ bent tieuger ほり rteti ®u[en.
Unb fo ging bie 3la6)t t)oruber,
Unb Slurora fanb mid) fd^tafen,
3fa, tnidE) iDccftc faum Me (Sonne.

gnblidE) ift e さ ©omntcr iDorbcn,
Unb bcim crftcn 9Korgenfd)iinnter
SRcijt mi ゆ cms bcm ^otben @ ゆ Imnmer
Die gefd^aftig fri ゆ e gttegc.
Unbarml^crjig fel^rt fic iDtcbcr,
SBetitt aud) oft bcr l^alb grlDad^tc
Ungebulbig fic t)crf(l^cuc^et,
8ocft bie Uttt)erfc^anttett ©c^lDcftcm,
Uttb t)Ott tncittctt 3lugcttlibcm
3Ku6 bcr f)olbc @ ゆ taf entluei ゆ eti.
^iilftig fpring' x6) t)on bcm Soger,
@蜂 bic gcticbtett aWufcn,

(Socttjcs (Scbic^te.

き ittbe fic im Suc^enl^amc,
3Kic^ gefallig ju ctnpfangcn,
Unb ben Icibigcn ^^n^fteti
J)anf tdE| mem ゆ e gotbnc ©tunbc.
@cib mix hoi), ゆ r Uttbcqucmcti,
SSott bem J)ic^tcr t)odE|gepric[ctt
2lt さ bie ID ゆ ren ajjufagcteti.

88. Un Me iRfinHi^cn.

Did)tcr ttcbcn nid)t p fdEiiDcigcn,
SBoUctt fidEi bcr SWcnge gcigcn-
8ob unb JEabcI mug [a fein!
Sticmanb beiditct gem m ^rofa ；
！ Cod^ わ ertrautt toxv oft [ub $Rofa
3n ber aWufeti ftiUcm ©oiti.

2BaS ic^ irrtc, ttm さ id) fh'cbtc,
SBa さ ゆ litt unb nm さ tdi lebtc,
©ittb l^tcr ©lumen nur hn @tou§ ；
Unb bad 9ltter iDtc bie ^fugcnb,
Unb bcr ge^Icr tote bie Sugcnb
9Jimmt fi ゆ gut m Sicbcm aus*

89. 5^raii?citl$er prattling,

Xagc bcr SBotuu,
S'ommt ゆ r [o balb?
©c^cnft mtr bie ©onnc
©ugel unb SBalb?

(Soett^cs <Scbid?te.

dit\i}lid)ex flicgen

®ittb e さ bie SBiefen,
Oft c« btt さ SC^at?

Staulic^c き rpe!
©imtnel unb §o^M
©olbenc き 称
SBhrnnelti im @ee,

Suttte さ ©eftcber
9iaufd)et im §am ；
§iinmlif ゆ e Siebcr
©d^allen barciti.

Uttter be« ©riineti
®W り ettber ^raft
5Rafd)eti bie ^Bienen
©ummenb am @aft.

geifc ®ctt)cgung
«cbt in bcr 8uft,
JReijcttbc SRegung,
@ ゆ Wfernber Ditft*

aw 攀 ger rii^rct
^Balb fidEi ein §au ゆ,
2)0 ゆ er t)erlieret
®lcid) fidEi im ©tra 琳

9lbcr jum Sufen
^tijxt er juritcf.
©dfet, i り r SJJufen,
Sragen bad ®Wcf 1

(Soetl^es (Scbic^tc.

@aget, fcit gcftem
2Btc tnir gcfd)a^ ？
8icbtidE|c ©dittjcftern,
8iebdE|ett ift ba ！

90. 5(t{&fer& Hia^ciicb.

J)a brobeti auf icnem Serge,
！ ©a 卩ゆ， id) toufcnbinol
9ln tncinetn @tabe gebogen
Uttb fdEiaue り inab in ba さ Z\)aL

UDonn folg' i ゆ bcr tDcibcnbcn ©crbc,
aWcitt ©unbc^cn bciDal^rct mir fie.
3d) bin り enmter gelotnincn
Unb tt)ci§ boc^ fetbcr tii ゆ t ttrfe,

！ Da iDe^ct t)Ott fc^oncti ©lumen
Die gauge SBicfe fo t)otI.
Q6) breeze 卩 e, o^nc toiffeti,
JBcm i ゆ fie gcbcn foil,

Uttb SRcgcn, ©turn unb ©emitter
3Jcrpoff' ゆ untcr bcm Saum,
！ Die TtjVLXt bort blcibet Dcrfd^Ioffcti ；
！ iDoc^ ailed ift Ictbcr cin Sroum.

Si8 ftc^ct cm Stegenbogen
33l>o^I iibcr icticm き u さ！
vSic aber ift iDeggejogen
Unb tt)cit m bod "ianh ^moud.

(Soe ゆ es (Scbi^tc.

§mau« in Im さ 8anb unb ttjeiter,
SSiclIcic^t gar tiber bic @ec.
SSoritber, i^r ©ci^afc, t)oruber ！
！ Dcm ©c^dfcr ift gar fo ま り ♦

91. tlifd^lie^.

3Kici^ ergreift, x6) tt)e 玲 ntd^t vok,
§imntlifd^c« 53c^agcn,
SBtll mid^S ctttja gar り inauf
3u ben ©temen tragen ？
®od) x6) bicibc lieber l^ier,
^ann idj) rcbtidE) [agen,
©cim ©efang unb ®tafc S33em
9luf ben Sifd^ ju f ゆ lageti.

S33unbert cud^, ゆ r greunbe, ni ゆ t
SBic id) mid) gebcirbc ；
aSirflicf) ift c« allerlicbft
2luf bcr Uebeti Srbc :
J)arum fd^ttjor' id^ feierlid)
Unb o]^tt， alle gii^rbe,
Dag td^ mid) nic^t fret)etttfi(f|
SBegbegeben iDerbc.

！ ©a iDtr aber aQjutnal
@o bcifatnTnen toeiten,

ゆ t， i ゆ, ftiinge bcr "ipolat
3u be さ J)ic^tcr« 3^Wen,

®utc greuttbc gic^en fort,
SB ギ cm l^unbcrt SKrifeti,
！ Carum foil tnoti l^icr am SDtt
Sltijufto^cn cUctt.

Scbc mcr ？ cbctt [d^offt ！
！ Da さ ift mcinc お e り re,
Unfcr Sottig bcnn わ oran,
3f^m gcbU^rt bic g^rc.
®cgctt hm- utib fiugcm gcinb
©ctjt cr 卩ゅ jur 2Bet)rc ；
5ltt^ gr^aftcn bcnft cr jmar,
SKc^r nodf, voxt cr me り re,

9lutt bcgrtil' td^ fic fogfeid^,
@ie, bie cinjig ginc.
3fcbcr bcnfc rittcrlicft
®i ゆ iobci bic Seine.
SKcrfct and) tin f droned S'mb,
SBctt td^ cbctt mcinc,
9?un, [o ttidc fic mir ju :
8eb， cm ゆ fo bcr ajicitic 1

grcuttbctt gilt bad brittc ®(a も
3 加 eim obcr brcicn,
！ J)tc mit uii さ 瞧 guten Slag
S ゆ im fttllen frcucn
Uttb ber 9tcbcl triibc 9ia ゆ t
iti^ Uttb fei ゆ t jcrftrcucn ；
！ C^icfcn fci citi ^od) gebrac^t,
Slltctt ober ncucn.

(Soctl^es <Sebid?te. 109

©reiter ttmllet nun ber Strom

3Kit t)cnnc^rtett SBellen, 50

Seben jefet im り り en Son

$Rcbtic^c ©efcUen 1

！ Die fid) mit gebrangtev 欲 aft

^Bvat) gufammen fteflen

■3tt be さ ©titcfcg ©onnenfd^citt 55
Uttb in f ゆ (hrnneti き ftUen,

SBic tt)ir nun sufamtnen finb,

©inb jufamnten わ iele*

SBo^I geiingen benn, tt)ie un さ,

Slttbem il^rc ©piele ！ 6o

3Sott ber QucHc bi^ cm さ 3Kcer

aWa^Ict manege 9Kti り te,

Unb tm さ SBo^t ber ganjen SBelt

3ff«, iDorauf td^ gielc.

92.

9latur Uttb ^utift, fie fd)cmctt fid^ ju flie り en
Unb l^aben 卩ゅ, eg, man e さ benft, gefunben ；
J)cr SBibeTOillc ift audi mix m\iS)Xomhtn,
Unb beibe fc^cinen gteic^ ntid^ cmjiyie り en*

@ さ gilt tt)o^t nur em rcbtic^c^ Semii り en! 5
Uttb ttjenn loir crft in abgemegncn ©tunbeti
3Kit ®eift unb き Id§ uti さ an bic Sunft gebunbcti,
aWag frci 5Katur im ©eqen ttjieber gluten.

<5oett{e5 <5tb\dftt

@o iff S mit titter Sitbung au6) bcfi^affcn :
Scrgcbcnd tocrben ungebunbttc ®ci[tcr
3la6) bcr Sottcnbung reittcr §o]^c ftrcbctu

2Ber ®ro6e« toxU, mug gufanttncnraffctt ；
Sn bcr S3ef(^ranfttn9 gcigt fid^ erft ber SKrifter,
Unb bod ®efcfe tmr lanti un« greil^cit gcbcn-

93. QocitKitlie5*

2Bir fingctt unb fogen Dom ©rafeti fo gem,
S)er f(ier in bcm ©c^Ioffe ge^aufct,
！ Da, m if)r bcti 6nlel be さ fcligcn ,§crm,
！ iDctt f(cutc Dcrma^Iteti, bcfdimaufet
dtun t)atte fid^ iencr im fjeifigcn ^rieg
3u g り rett geftrittctt burc^ mannigctt ©teg,
Unb aid er ju §au[c Dom 9?o[fetcm fticg,
'J)a fanb er [citi ®^Io)fctcitt obcn,
！ Coc^ ！ Dicttcr unb §abc jcrftobcn,

©a bift bu nutt, ©riifleitt, ba btft bu ju §au さ,
5Da« ^ciinifc^c finbcft bu f (glimmer!
Sum gcttfter ba gicl^ctt bic SBtnbc り itumS,
@ic lomTnctt bur^ atte bic 31饥饥ば.
9Ba さ ttjarc p tl^uti in bcr f(crbftli(^ctt 5Wac^t?
®o W ゆ bo(^ manege fc^timmcr り ottbra ゆ
35cr 3Korgctt り at atte さ tvo^i bc[fer gemac^t.
SDrum rafc^ bci ber monbUc^en §cHc
On« ^ett, in ba さ ©tro ん m さ ©efteCe.

(Socttjcs (Scbic^tc.

Ill

Unb at さ cr im tDilligen ©c^Iummer fo lag,

SSctDegt e さ [id^ utiter bem SSette, 20

S)te JRattc, bie rafale, fo la 零 fie mag!

^a, tDenti 卩 e cin SSrofeletn り tttte ！

S)o(§ fie り e! ba [te^et eitt tDtnjtger SEBic^t,

gin S^txQkxn fo jierlid^ mit 2ltn^)efett-8ic^t,

SDWt 9?ebncr^®ebdrbett unb ©prec^er-Oetoid^t 25

3um き u§ be« ermiibeteti ®rafen,

！ Der, f^Iiift er nic^t, moc^f er bo(^ fc^tafen.

SBir f(aben un さ き efte り ier oben erlaubt,

©eitbem bu bie り ertoffeti,

Unb tt)ei( tt)ir bi ゆ ipeit in ber genie geglaubt, 30

@o batten iPtr ebeti き u praffeti.

Uttb ipenn bu Dergonneft unb iDenn bir nid^t grant,

©0 f(3^Tnaufen bie S^cxqc b ゆ agli ゆ unb laut*

3u &) xtn ber rei^en, ber ntebltt^en SSxaut

S)er ®raf im SSe^agen be« Slraume さ : お

©ebtenet eud^ immer be« 9?ainne さ！

！ Da lommett brei 9?eUer, fie reiten り erDor,

S)ie uttter bem SSette gefjalten ； -

iDann folget eiti fittgenbeg, flingenbe さ g り or

^officrlid^er fleiner ©eftalten ； 4o

Unb SBagen auf SBageti mit aCem ®eriit,

！ Da^ einem fo goreti ate @ ゆ en わ erge り t,

SSMe ，さ nur in ben ©cutoff em ber Sotiige [te^t ；

3u(efet auf Dergofbetem ffiagen

！ Die ©raut unb bie ®a[te getragen* 45

®o rennet nun aKe さ in り ollem ®alop:p
Unb liirt 卩ゅ im ©aale fetn 取 ii お c^en ；
3um ！ Dre^eti unb ffidjeti unb tuftigeti ^op\>
grticfet ftd) ieber ein ®d)at}d)ett.

(Soctljcs (Scbic^te.

！ Da tjfeift e さ unb getgt e さ unb flinget unb Hirrt,
Da I'ingett ，さ unb fd^teift e さ unb raufc^ct unb xomi,
S)a t)i)>erf« unb Inipert ，さ unb fliiftert ，さ unb \6)tomi]
！ Da さ ©rdfleitt, e さ btidet ^tnuber,
g さ biinlt ゆ It, af さ lag' er tm giebcr.

3?un b(tp:pelt ，さ unb rttppdt ，さ unb Ua\>ptxt'^ im @aal

3Son SSanlen unb ©tii^Icn unb Jif^en,

Da tDill nun em jeber am fe 卩 lichen SDtal^I

©id) ttebeti bem 8iebd^cn erfrif^en;

®ie tragen bie SBiirfte, bte ©(^tnlen fo Hein

Unb SSraten unb gif^ unb ©epgel f(crein ；

g さ Ireifet beftanbig ber loftU^c fficin;

Da さ tofet unb fofet fo (ange,

93erfd^tt)inbet jute お t mit ©efange.

Unb [oUen voir 卩 ngen, tt)a さ ipeiter gef^ ゆ ti,
@o fd^tDeige ba さ SToben unb SEofen.
©enti er fo artig im Heineti gefe^n,
@rfu り r er, genog er im grogen*
Strompeteti unb flingenber, fingenber ®(^aC
Unb SBageti unb 9ieiter unb briiutlid^er © ゆ tt)at(
@ie lommen unb jeigen unb neigen \\6) aiV,
Utiid^Iige, felige Seute,
®o ging e さ unb ge り t e さ nod) l^eute.

94：. Her Hattenfan^er*

Si) bin ber tt)of((beIanntc ©dnger
Der Dielgereiftc Siattenfiinger,

(5oetties (Scbtc^te

！ Den biefe altberii^mte ©tabt
©eiDtg befonber^ tiotig り at.
Uttb mttren ，さ dtattm no ゆ fo わ iele,
Unb ipareti SBicfel tntt im ©piele;
SSon atleti fttubr' id) biefeti Drt,
®te Tniiffeti mitemanber fort.

！ Datttt i[t ber gutgetauntc ©dnger
3Kitunter an6) ein Sinberfanger,
©er felbft bie mUbeften bqh)ingt,
SBenn er bie golbnen 2Karci^en fingt*
Unb tDdren Snabeti no ゆ fo tru お ig,
Unb iDciren SKabd^en no^ [o ftufeig,
3n meitte ©aiteti greif i ゆ ein,
@ie miiffett aUt ^interbrein.

SDann ift ber Didgeipanbte ©anger
©clegentltdi ein SWab^enfanger ；
feittem ©tabtd^en (atigt er an,
2Bo er ，さ ni^t mand^er ange ゆ cm*
Unb tDiiren SWabd^cn nod^ fo btobe,
Uttb ipareti SBciber no ゆ [o \px'6\>t,
T)od) alien mirb [o liebebang
SSei 3auberfaiten unb ©efang.

(aSon 2lnfang.)

96, 3er0fd^io^«

S)a broben auf jetiem ©erge,
J)a fte^t eitt afte さ ®i)lo%
28o り inter St^oren unb 51 り ttren
©on 卩 lauerten SRitter unb 9?og.

114

5

lO

15

20

25

30

Scrbrattttt finb S^ttren unb Z\)ovt,
Unb UberaK ift e« fo ftitt ；
！ Da^ alte Derfallnc ©cmaucr
S)ur^IIcttr' x6), tok id) nur toxU.

§icmeben lag cin Seller,
@o DoH Don Kftlh^em SBein ；
9?utt [teigct nic^t me り r mit ^rugcn
！ Die SeHneritt Inciter り itiein.

®ic fefet ben ©often im ©aalc

5Kt^t me り r bie SSed^er um^cr,

®tc fuHt gum l^ctUgen 2Ka^Ie

Dem ^faffeti ba さ gldfd^d^en tiic^t tnel^r.

®te retc^t bem liiftemen Snappeti

ゆ t me^r auf bem ©atige ben Xxant
Unb nitnmt filr pt^tigc ®abe •
3lx6)t me り r ben piid^tigen iDanL

J)ettn die Satfeti unb SDedeti,
@ie finb [d^on tange わ ertrcmnt
Unb SEre 沖， unb ®ang unb ^aptUt
3tt ©d^utt unb STriimmcr わ ermnbt'

5Do^ ate mit S^tf)tx unb glafc^c
5Ka(^ biefeti felfigen ^of(tt

ott bem Inciter 卩 en iage
2Rem giebd^en fteigen gefc^n ；

S)a brangte fid) frol^c^ Se^agcn
^erDor aug わ eri5beter dinf),
5Da ging, さ tt)ie in olteti ZaQtn
SRe^t feterli^ ipieber ju;

<5oe ゆ es (Sebxdfte,

115

ate tuareti fur [tattli^c ®a[te

Die ipeiteftctt JRiiume bereit,

9tt« tanC tin ^ftr^en gegangett 35

3ht さ iener tiid^tigen ^tit ；

911^ ftunb' in [einer ^aptUt

！ Der ipUrbige ^Pfaffe fc^on ba

Unb fragte : SBollt xijx einanber ？

SBir aber ta^dten : ^a! 40

Unb tief betDegten ©efiinge
De さ gergen^ tnnigften ®ruttb,
@« jeugte, [tatt ber SJienge,
iDer gc^o fc^allenber SKunb.

Unb ate fid) gegen ben 2lbenb 45

3m [titlen alle さ Derlor,

！ Da blidte bie glu^enbe ©otitic

3um ゆ roffen ®ipfel m)por.

Unb ®M 沖 unb ^eHnerin gtattjen

3lte §erren tuett unb breit ； so

®ic tttmtnt jum Svebetijen

Uttb er jum ！ Danlc fi(§ 3eit.

96. Yanitas ! vanitatum vanitas ！

^i) \)aV mein ®ac^ auf ni(§ は geftetlt.
3it 称 ！

！ Drum ，さ fo too\)l mix in ber SBclt
き 柳

116

5

lO

15

20

25

30

Unb h)cr mill mem ^amcrabc feiti,
！ Der ftoge mit an, ber [timme mit cm
53ei biefcr 5Keigc SBeitt,

Si) fteCf meitt ®ac^ auf ®clb unb ®ut,
き 称 1

Dariiber Derlor ic^ greub' unb 3JZut.
D toe り！

J)ie aKiinge roHtc f(ier unb bort,
Unb ^af^f td^ fie an eiticm Drt,
9lm anbem toax [ic fort.

Sluf SBeiber )tcHt' i ゆ nun tnein ®a(^.
3 赠 e ！

Da り er tntr lam met Ungemad^.

！ Die galfc^e fu ゆ t， ft^ em anber XtH,
S)ie 2^reuc ma^f mir gangcmeit,
S)ie S3e[tc ttjar tii ゆ t feil.

■3 ゆ ftetit* meitt ©ac^ auf 9ieif unb き ゆ rt.
き 称！

Unb licg meine SSaterlanbe さ art,

Unb mir be^agf e さ ntrgcnbd rec^t,

！ Die toft nmi* fremb, ba さ S3ett ipar fi^Icc^t,

5Kietnattb Dcrftanb mid^ rec^t

Sd) ftetlf mein ©at^ auf 3tnf)m unb @ りビ *
Unb fiel^ ！ gfeic^ l)atf em anbrer m ゆ r.

2Bie id) mid^ り att， l)en)orge ゆ an,
！ Da fallen bie 8eute f ゆ eet mi ゆ an,
§atte feinem SRe ゆ t gctfjan.

fefet， tnein @a ゆ auf S^am^f unb ^rieg.
き 称 1

Unb im さ gclang fo manner @ieg*
3u6)\)c ！

Sir jogen in 、き eitibed 8anb り itiein,
©em き reunbe foUt ，さ ni^t Diet beffer feitt,
Unb iS) Dcrlor ein Sein,

5Kutt IjaV \6) tnein auf tiid^t さ geftellt*
3 赠 e ！

Unb Tnein ge^ort bie ganjc SBelt*
3^u"e 1

3u @nbe ge^t nun ©ang unb ©c^mau さ ♦
3?ur trittft mir atle 9?eigen au さ；
！ Die le お te mug り erau さ！

97. まゆ ifto ゆ eUs ^pvidii.

©0 mar e さ fd^on in nteinen Stagen,
(Sin ieber [d^tdgt gar ^od| fi^ an,
Unb tuiirbeft bu fie atte fragen ；
iDa さ 28 ゆ tigfte り at er getl^an.

& laftet fd^iper bie f ゆ mere 8aft,
！ Die fetber bu tragen fjaft,
Unb ob ein anbrer a^jt unb fcic^t,
gur t)i ゆ ift feme ©iirbe fei ゆ t*

118

<5oett{es (Scbici^tc.

98. mddiii^CB ^bcvva^d^cn.

Sin ©trorn cntraufc^t ummolftem J^elfenfaalc,
S)em Djcan 卩ゅ eilig ju Derbinben ；
3Ba« aud^ [id^ [piegetn mag Don ®ruttb ju ©rtinben,
@r tDanbett unauf^altfam fort ju Sl^ate.

5 2)fimomfd^ aber ftiirgt ntit eitiemmale 一

3 り r folgten SSerg unb SBalb in SBirbetotnben 一

OreaS, S3 ゆ agen bort finben,
Unb り emmt ben 8auf, begrenjt bie lueitc ©djale.

Die SBeKe fpriil^t unb [taunt gurucf unb mcit^et
lo Unb fc^tDillt bergan, fi^ tmtner [elbft ju trinfen ；
®e り emmt ift nun ium SSater り in ba« ©trebcn.

©ie fc^matift unb ru り t, jum @ee juriidgcbcic^ct ；
®eftime, fpiegctnb fic^, bef ゆ cum ba« SImlen
S)c« SBeKenfd^tag^ am gete, em tteite さ Scben.

99. Hie tUbcnbc abcvmaH.

SBarutn tDteber pm papier mi ゆ menbc?
！ Da« mu^t bu, Sicbfter, [o bcftimmt nic^t fragen :
！ Denti eigentfi ゆ ^ab' tc^ bir nid^t« fagen ；
S)od^ fommt ，さ jule お t in beinc ticbcn ©iinbe.

5 id^ ntd^t fommen faun, [oH, \^ fenbc,

2Kcttt Uttgeteittc« §er き ^iniibertragcti
3Ktt SBottttett, ©offttungen, gntjudcti; ^(ageti :
！ Dag allc^ l^Qt nid^t 3lnfang, り at nid)t gtibe*

(Soetl^es <5ebxdfte

119

3^ mag Dom l^cufgen STag bir nid^t さ わ ertraueti,
2Bte fi ゆ im ©hmen, SBUnf^en, SBa^nen, ffioKcn lo
SKein treueS §erg ju bir l^tniiber ipenbet :

®o ftanb id^ eitift わ or bir, bid^ atijuf^auen,
Unb [agte tii ゆお， SBa さ ^dtf ゆ fagen foKen?
2Jiettt ganged SBefen mar in fi ゆ わ ottetibet.

100. 3n Siammbvidt
bcv jcltnjdi^ivi^cn 3ertlia von tobcv^

3cno, ben 13. SRai 1809.

ffiie btc SSUiteti ^eute brmgeti

9lu さ ben aufgefd^tognen «3tt)eigett,

2Bie bte aSogel ^eute [ingcn

3lu さ bur^fid^tigen ©eftraut^eti,

®o begleitet reif unb (ebe 5

Unb [0 freunblt^ nimm unb gebe.

101 • Ergo bibamus ！

§ier fittb toxv ijerfammelt ju lobli^em Xf)mi,

！ Drum, S3ruber^en 1 Ergo bibamus.

！ Die ©Icifer, 卩 e ffingeti, ©efprd^e, [ie ru^n,

Sc^erjiget Ergo bibamus.

！ Das ijd^t noi) eiti alte さ, ein tii^ttgc^ 333ort : 5
@ さ paffet gum (Srften unb jjaffet fo fort,
Unb fd^allet em (ii)o t>om fefllic^en Ort,
©in ^errli^e^ Ergo bibamus.

120 <Soett{es <5ebtdpie.

り atte tneitt freunblii^e^ 8ieb(^en gcfd^n,

lo S)a bac^f id) mix : Ergo bibamus.

Uttb na^tc mi ゆ fmmbl ゆ, ba Keg fie mtc^ fte り n ；

f(atf mtr uttb bac^te : Bibamus.
Unb ttjctttt [ic ocrfo^ttct tnd) ^crjet unb fttfet,
Uttb tDenti ゆ r ba さ §crjctt unb Stiffen Demi もし
15 ®o bleibct nur, bi« i り r Scffcrc^ toi^t,
©etm tro[tU(^Ctt Ergo bibamus.

Tlx6) ruft meitt ®cf(^i(f t)on ben ^cunbcn り bimeg;

3 り r rebli ゆ ett! Ergo bibamus.

9lc^ fc^cibe Don fjinnen mit Icic^tcm ©cpad ;

2o ！ Drum boppelted Ergo bibamus.

Uttb tt)a« QU(^ ber gilj Don bcm ?cibc p ゆ fc^tnorgt^
@o blcibt fiir ben ©eUern hod) immcr gcforgt,
2Beil immcr bcm gro^cti bcr gro^Ii(^c borgt ；
J)nun, ^Brttbcrt^en! Ergo bibamus.

25 SSfag foHeti ton fagcti jum ^cutigcn Za%l
^i) bac^te ttur: Ergo bibamus.
®r i)t nun cinmal Don bcfonbcrcm Sc^Iag,

©rum immcr auf« ncuc : Bibamus.
gr ful^rct bic greube bur めさ offcnc 2^or,
30 g« gtdngen bic 9Botfen, c§ teill [vif bcr glor^
Da fc^cittt Utt« ein お ilbc^en, citi gottKc^ed, Dor ；
SBir flingen unb fmgeti : Bibamus.

<8octI?es <5cbtd?tc.

102. Blumeitdtu^.

S)er ©tmug, ben ゆ ge^pfliitfet
©riige bi ゆ Diel tauf enbmal ！
■3 ゆ l^abe mid) oft gebiidet,
31 ゆ, tt)o り （ ein taufentmml,
Uttb il^tt cm さ §erj gebriirfet
333ie ^Uttberttauf enbmal!

103. mailicb.

3tt)if^en aSeijett unb Sont,
3tPtfd^ett §e(fen unb iDortt,
3tt)i)c^ett ^aumeti unb ®ra さ,
SBo g ゆ t ，さ giebd^en?
©ag, tnir ba さ！

ganb mein §o れゅ en
9itd|t tm り eim;
3Ku6 ba さ ©olb^en
！ Draugen feiti.
®ruttt unb blul^et
®^on ber Tlai;
Ciebc^en jte^et
き ro り unb fret.

9ln bent getfen bettn き lu あ
2Bo fie reic^te ben 孓
き 繊 erften im ®rag,
@e ゲ i ゆ ttm^ 1
S\t fie bag?

104r, Hie Cttfti^en von IPeimar.

2)0 騰 rgtag na6) SclDcbcrc,
grcitag gc^fd na6) Ocna fort:
J)ctttt btt さ ift, bci memcr (^り re,
T)od) em allcrliebftcr Drt!
®am«tag toorauf toix gielcn,
©onntag rutfc^t man auf bad Sanb;
3tt)fi き en, Surgau, ©c^ttcibetmi^Ictt
©ittb utt« aKe too り ttetomt.

aWontag reijct un« tie お tt り tie;
！ Dien^tag fd^lcic^t bann auc^ り erbri,
Do ゆ er brtngt ju ftitler ®u^ne
(Sin ^opVi\^i)tn franf uub frei*
aRttttt)od^ fe^lt e さ n ゆ t an ぉ举 img:
©ctttt e さ giebt em guted ©tiid ;
35ontter さ tag lenft bic Scrfu^rung
Uttg nad) SSelDcbcr' juriicf.

Unb e« f ゆ titigt ununterbroi^ctt
3ntmer [i^ ber greubenfrei^
！ Dur^ bic giuei unb funfjig SBo(^en,
SBetttt man ，さ rec^t ju fU^ren weip.
®piel Uttb Satij, ©efpriic!^, Sn^eatcr,
@ic crfrifd^ctt unfer iBlut;
gafet ben SBiencm ゆ ren prater ；
SBetmar, ^tna, ba iff さ gut!

105. Her ^otcniau}.

J)cr SCiirmer, bcr f ゆ aut ju mitten ber 9?a ゆ t
§tnab auf bie ®raber in 8age;
！ Der 3D?ottb, ber l^ot alleg tn« © や He gebrac^t ；
！ ©er ^ir ゆり of, er (iegt tok am Stage.

(Soctf^cs (Scbtc^tc.

123

！ Da regt fid) em ®rab unb eiti anbere さ harm ： 5
@tc fomnteti f(ert)or, ein 333eib ba, ein Tlann,
tDetgen unb [d^leptjenbeti gemben.

S)a さ redt turn, e さ toiii \x6) ergofecn fogletd),

iDie Sno^el jur 9?unbe, jum Sranje,

@o arm iinb fo jung unb [0 alt unb fo rcid^ ； lo

35o^ j^inbem bie <B6)kppcn am Stanje.

Unb ttjeH l^ier bie <Si)am nun nic^t ipeiter gebeut,

®ie f ゆ iitteitt fid| alle, ba (iegeti jerftreut

35ie gembeleitt uber ben ^Ugeln.

5Wun ^ebt fid) ber ©d^enfe し nun mdtlt ba さ ©ein, 15

©ebdrben ba gtebt e さ, Dertradte ；

iDcmtt Htptjerf^ unb Ua)ppcxt'^ mitunter り ineitt,

9n さ fc^Iug' man bie ©oljlein jum Xattt.

！ Dag lommt nun bem STurmer fo (cid^erti^ Dor;

S)a rauttt i^m ber ©d^atf, ber SSei'fu ゆ er, ing £)t)x : 20

® ゆ！ Ijok btr eitteti ber 8afen,

®et り an tt)ie gebad^t! unb er p ゆ tet [td^ f^nell

5Wutt l^tttter ge^eiligtc SEpren.

iDcr SWottb unb nod^ hmner er f^einet fo l^eU

3um Stanj, ben fie [d^auberlic^ fii^reti. 25

^06) twblx6) わ eriieret fid) btefer unb ber,

© ゆ lei ゆ t em さ m6) bem anbem gefletbet ein り er,

Unb ^ufd) tft e さ unter bem SJafcti.

5Kur eitter, ber trippett unb ftolpert julefet

Unb t ゆ： pet unb grttpft an ben ®ruf ten ； 30

J)od^ り at tdn ©efelle [0 fd^iper ゆ n ijcrlefet ；

(gr iPtttert bad SEud) in ben Suften-

124

Gr rnttelt bte Xttrmt^or, }\t fc^tdgt ゆ n guriitf,
(^Vjicrt tmb gcfcgnct, bent Siirmcr 3 腿 ®IM,
35 Sie blhift tMm metaUeneit ^ujeit

Ta^ ^cmb muB cr り aben^ ba raftct cr nic^t,
で a gilt att ゆ tern longed お efiimen,
3)en gotifc^ «3ienrt ergrcift nun bcr SJM ゆ t
Unb Hcttcrt mm 3iniK ju 3i 騰 n.
40 ^ytm iffd mn ben armeit, ben Jurmer gc ゆ cm!
(5^ rucft p ゆ txm 2c^or!cI ju Sc^norfel り hum,
^angbemigeit Sphmcu uergletc^bar.

jDcr Siirmcr erbleic^et^ bcr Siirmcr crbcbt^
@crn gab' cr t^n ttJtcbcr, ben Salcti.
45 ^0 f)Qk\X 一 ie お t f)at cr am Idngften gclebt 一
Ten 3 ゆ fel ebi cifcmcr 3atfeiu
St^on trubct bcr Ttonh p ゆ ocrfi^ttjinbcnben ©c^ein 各'
J^ic (Slocfc^ fic botmcrt em mil ゆ tigc^ gin さ,
Unb unten jerfc^eUt im さ ©crippc.

106. ^cwoltnt, getl^an*

Q(S) f)ahc gclicbct, nun licb' ic^ crft rccf|t!
Grft war i ゆ bcr ！ Dfetier, nun bin it^ bcr Sncc^t.
6rft toot id) bcr SDicner Don oUcn;
yim feffclt mic^ bicfc d^innante ^crfon,
5 @ic tl)ut tnir auc^ aUt& gur giebe, j 腿 gol^n,
@ic lann nur allcm mir gcfalfeti,

^6) ^abc gcglaubet, turn gtaub' id) crft re ゆ t ！
Unb ge り t e さ du ゆ wunberlic^, g ゆ t e さ auc^ fc^lec^t

(Soett^es. <5ebid?te.

125

^i) bleibe beim gtaubigen Drben:

@o bufter e さ oft unb fo bunfet e さ mx lo

brangenben 'Jloten, in na^er ®efa り r,
2luf etnmat i\U lifter getDorben.

Q6) ^abe gefpeifet, mm fpetf 16) erft gut !

4Bei l^eiterem ©itrne, mtt fro^Uc^em Slut

3?ft atle さ an Stafet Dergeffen. 巧

5Dic 3^ugettb Derfdiltngt nur, bann faufet fie fort ；

Q6) liebe gu tafetn am tuftigen Drt,

Q6) foff unb id) f ゆ mecfe beim gffen.

^6) l)abe getrunfen, nun tritif ゆ erft gem ！

iDer SBein, er er^o^t un さ, er mad^t im さ jum §erm 20

Unb tofet bie fflaDtfd^en ^ungen.

3?a, f^onef nur md)t ba^ erquidenbe 9ia§ :

!l)enn fcl)tt)tttbet ber altefte SBeiti au さ bem き a§,

@o attem bagegen bie jungen,

3fd| l)abe getan^t unb bem Stange gelobt, 25

Unb tt)irb aud^ fern @ ゆ teifer, fein SBatger getoW,

@o bre^n tDir ein fittige さ Stdngd^eti.

Unb tDer fic^ ber ©lumen rec^t Diele tjerflid^t,

Unb \)clU au6) bie ehi， unb bie anbere tii ゆ t,

S\)m bleibet ein tnuntere^ ^mnj ゆ en, 30

Drum frifd) nur cmfg neue! Sebenfe nxijt:

！ Denn mer ftc^ bie Sfiofett, bie btu^enben, 6ri ゆ t,

！ Den f き ttt fiirtDa^r nur bie- Domen*

©0 り eute tt)ie geftern, e さ flimmert ber ©tern ；

9?ur l)aUe Don ^angenben ^ゆ fen btd^ fern 35

Unb lebe Mr immer Don t)omett.

(Soctl^es <Sebid?te.

107. Die ttnin&eln&e iRlodc.

mv tin Sinb, bad tDoIIte ntc
3ur birdie fid) bequemen,
Unb ©otmtag さ fanb e さ ftet さ tin 3Bie,
！ Den SBeg in 各 gctb ju n ゆ metu

！ Die ajhtttcr ^pvad) : ^Dte ®to(fe t5nt,
Unb fo ift t)ir, さ befol)Icn,
Unb り a 卩 bu bic^ nid)t ^ingctuol^nt,
©ie ！ ommt unb tt)irb bid) l^oleti.

Dag Sinb, e さ benft : bie ®lo(fe り fttigt
！ Da broben auf bem ©tu り le.
@ ゆ oti り at ，さ ben SBeg in 各 gdtx geletift,
2ll« lief e さ cm さ ber @d|ulc.

！ Die ®lo(fe ®Io(fc tont tii ゆ t met)r,
！ Die ajhitter り at gefadett.
^od), todd) eitt ©d^reden り inte ゆ er ！
Die ®to(fe foTtimt gctDadelt.

®ie iDadelt f ゆ tietl, man gtaubt eg taum ；
！ Da さ ame i?mb im ©d^redcn,
& tauft, e さ fommt, at さ tDte im SEraum ；
！ Die ®io(fe mirb e さ beden.

©od) nimmt e さ ri ゆ tig femcti §ufd^,
Unb mtt gctt)anbter @c^nefle
©It e さ burc^ 3lnger, gclb unb 4Bufd^
3ur S^irdie, gur ^apetle.

(Soetl^cs <Sebid?tc.

Unb icbcn @DTm- unb getertag
©ebetift e さ an ben ©d^aben,
2a^t hnv6) ben erften ©lodtcnfc^lag,
5Wid|t in ^erfon fi ゆ tabeti.

108. (Bcfttltbciu

^6) gmg fan SBalbe
@o fiir mi ゆ り iti,
Unb ni ゆ t さ 3u fit ゆ en,
！ Da さ nmr tnein ©inn.

(gdjatten fal^ id)
gin ^Blumc^cn 卩 e り ti,
S33ie (Stcme teuc^tenb,
SBie tuglettt \i)on.

SS) mUV e さ 6re ゆ eti,
©a [agf e 各 fcin :
@otI id) gum SSelfen
®tbxo6)tn fern?

Q6) grub さ mit alien
き SBurglein au も
3 賺 ®arten trug ゆ
5lm り iibf ゆ ett §au«.

Unb pflauif e さ tt)iebcr
aim ftitlen Drt ；
5Kun gtDeigt e 各 hnmer
Unb btttl)t fo fort

(5oe ゆ es (5ebid?te.

109. iSleidt wnb ^Uidt.

(Sin ©tumetigKtf き tt
aSom ^Boben り ermn*
SBar friil) gefproffet
■3n 隨 id^em glor ；
J)a fam ein ©ieti ゆ en
Unb Tiafcl)te feiti : 一
ADte miiffen moI)I betbe
き iir eittcmber. fetn.

110.

@pat erflingt, n)a さ fru^ erftang,
®IM unb Ungtud iDtrb ©efang.

111. ^Claffcr.

SBtr reiten in bte ^reuj unb Clue ビ

greuben unb ®cfd|aften ；
ADorf) immer fKfft c6 り integer
Unb bitit cm さ alien S^raftcn.
@o milt ber @pife au さ unferm @taK
Un6 itntnerfort begteiten,
Unb fehie さ 53eIIen さ tauter @ ゆ aH
^Bemeift uur, bag roix reiten*

112. <Rott, (Bemtit imb tPett*

1.

Da さ Unfer SSater cm \i)on ®ebet,
(S さ Went unb り itft in alien 5Koten ；

(Soett^es <5ebid?te.

129

SBcttTi etner and) 9?ater unfer p ゆ t,
3fn ®ottc« Xiamen, tag i^n beten, •

2.

3^ ゆ tDanblc auf tueiter, bunter gtur 5

UrfjjrihtgK ゆ er 9?atur,

Sin ^olbcr Som, in iDeldjcm id^ babe,

3fft liberitcfcining, ift ©nabc.

aaSie? SBann? unb 2Bo? — !Die ©otter bletben ftutnm!
！ Cu I)attc bid) ati さ SBeit unb frage tii ゆ t : SSarrnn? lo

SBUIft bu in さ Utietiblic^e f ゆ reiteti,

®e り ttur itn gnbti ゆ eti na6) alien ©eiteti.

6.

SBillft bu btc^ am ©anjeti erquidten, •
®o mugt bu t)a さ ©ange im ^lemften crblidteti.

113. 5pri<*wdrttl<**
1.

3fm neuen きま ®Ut(f unb §eU!
3luf SBcI) unb 2Bunbett pte @atbe ！
9luf grobctt Slot? em grober Seil!
9luf einen @ き hneti anbcrt^afbe ！

2.

Sin Sranj ift gar Diet tester btnbcn, 5
91(6 ゆ m ein tt)iirbig §aitpt 3U finben.

120

(Soetl^es (Stb'xdfte,

SH) l^attc meitt frcunbltdic^ 8ieb ゆ en gcfel^n,

lo Da ha6)t' 16) mix : Ergo bibamus.

Unb na\)tt freutibt ゆ, ba Keg fic m ゆ 卩ゆ n ；

^6) り tnir unb bad^te : Bibamus.
Unb tDenn fie t)erfb^net eu ゆ り erjet unb fugt,
Unb tDenn ゆ r tm さ ^erjen unb S'Uffen Dermigt,
15 @o bleibet nur, 6i さ ゆ r nm さ ^BeffereS tt)i§t,
^Beirn troftlic^en Ergo bibamus.

3K ゆ ruft mein ®ef ゆ id Don ben greunben り itUDeg;

Qljv reblidien ！ Ergo bibamus.
91 ゆ fc^etbc Don り hmen tnit tei ゆ tem ®tpM ；

2o ©rum boppelte^ Ergo bibamus.

Unb ttm 各 ani) ber き Don bem 8etbe fid) fdimorgt,
@o bleibt fiir ben ^eiterti boc^ immer geforgt,
SBett immer bem き ro り en ber ^ro1)licf)e borgt ；
Drum, Srttber き！ Ergo bibamus.

25 2Sa^ foUen xoix fagen gum ^euttgcn 2^agl

QiH) hai)tt nur: Ergo bibamus.

Sr t[t nun eirnnat Don befonberetn @ ゆ tag,
5)rum immer auf^ neue : Bibamus.

gr fii^ret bie き reube tmr めさ offene Z\)ov,
30 (S さ gliinjett bie aSotfen, e さ teitt fic^ ber gtor,

2)a f^eint im さ ein SiU) ゆ en, ein gotttid^e^, Dor ；
SBir f Imgen unb fingen : Bibamus.

(Soe ゆ es <5cbid?te.

102. ^(umen^ruff*

5)er <Stvau% ben ic^ gcpflUdtet
®ru§e bid^ Diel taufenbmal!

^abe mic^ oft gcbudet,
9ld^, tt)oI)t em taufenbTnat,
Unb i^n cm さ ^cq gebriidet
2Bie ^unberttaufenbmat!

103. mailicb.

3wtfc^en SBeijen unb き rti,
3tt)if ゆ en §e(fett unb ！ Dorn,
3tt) り-ゆ eti Saumett unb ®ra さ,
2So ge^t ，さ gtebc^en?
©ag'tnir bad!

ganb mcitt §olbd|en
iKic^t bal)etm ；
ajhtg ba« ©olb^en
ilDraugen fein.
®rUnt unb blutjet
®c^on ber SM;
giebc^en gte^et
grol) unb frei.

9ln bent き elf en betm き tu お,
2So fie reid^te ben
Qmtn erften im ®ra さ,
@ギ td| etoa さ 1
S\t fie ba«?

132

(Soettjes <Sebtd?te

gntjtDct' unb gebiete ！ JtUd^tig SBort.
aSeretn' unb lette ！ Se^rer §ort,

18.

50 9? ゆ t griJgem SSorteit tt)tt§f id^ gu ncnnen,

？ U さ be さ geinbe^ 9?erbienft erfenncn.

19.

§cutc gel^ id^. S(mun， tc^ tDteber,
©ingen xoix ganj anbre Sieber.
2So fo met fi ゆ ^offcn tagt,
55 3fft ber Slbfd^iteb ja ein き eft

20.

〃2Banun tnagft bu getDiffe ©c^riften m6)t lefeti?"
Da さ tft audi fonft tneme ®peife getDefen ；
SiU abcr bie dtanpt, fic^ ebijufpittneti,
ゆ t farm fie me り r ^Bliittem ©cfd^mad abgeiDmnen.

5

114. €pi$ratnmatita:{.

レ Pemut.

@ ゆ， ic^ bie SBcrte ber SJieifter an,
®o fe り, ゆ bag, ma さ fie get り cm ；
Setr— t, ゆ meine ©tebenfad^cn,
ic^, hm さ tc^ り iUt， foHeti madden.

2. Ketns von aHen.

SBcnn bu bid) felber mac^ft jutn S'ticdit,
Scbauert bic^ niemanb, gel^fg Mr fdjled^t

(Soetl^es (Sebid?te. 133

9Ka ゆ ft bu bid) aber fetbft jum §crrn,

！ Die Seute fe^n e さ cm ゆ nidEjt gem; '

Unb btetbft bu enbltc^, wie bu Wft,

(So fageti fie, bag ni ゆお cm bir t]t. lo

3. Bebingung.

3fl)r lagt Tii ゆ t nad}, ゆ r bleibt babei,
©eg ゆ ret 9?at, id) tarn i り ti geben ；
9lllem, bamit id) ru り ig fei,
9Serf<3rec^t tntr, i^m nid|t tia ゆ pteben*

^. Breit ipte Icing.

2Ber bcfdieiben ift, mug bulben, 15
Unb tDcr fret^ ift, ber mug leibeti ；
9llfo tDtrft bu gtei ゆ Derf ゆ ufteti,
Ob bu frec^ feift, ob befd^eibcn.

5. icbcnsreqel.

SBtKft bu bir eiti pbft^ geben jimmem,

aWugt bid) um« aSergangne nic^t befiimmern ； 2o

Da さ SBenigfte mug bid^ Derbrie^en ；

3Ku§t 卩 et さ bie ®egentt)art genie^en,

Sefonber^ feinen SKetif ゆ en り affen

Unb Me ^ufunft ®ott uberlaffen.

6. ^rtf^es (£i, gutes (Et.

ほ tit り upa さ mu さ Dergteic^， id^ gem 25

2)er 3lufteiv mehte lieben §erm,

©ie, tDenn ゆ r [ie ni ゆ t frifc^ geno^t,

SBa り r り aftig ift eitie f ゆ led^te ^o[t

S3egei[trung ift feine ^eritig さ ttwre,

Die man einpofett auf eitiige り re* 30

(Soett^es <Scbtd?te

7. Pas 2tlter.

5Da^ 3ltter ift em ^afltd^ Warn :
Sinmal libera anbre Ho^pft er em,
5lber nun fagt niemanb ： §erem ！
Uttb わ or ber St^urc xoiU er nid)t fein*
！ Da fttnft cr auf, tritt ein fo fc^ncll,
Unb nun り eigf さ, er fei ein grober ©efelL

8. も GALIT も.

©a^ ©rbgtc toxU man nii)i errei ゆ en,
ajian beneibet nur feine^gtcidien;
！ Der fc^fimmfte Sleib^art ift in ber SBelt,
ADcr jeben fUr feine さ ゆ eti ff'alt

lib. ^iinf ditbere*

3Ba さ tjerftirjt tnir bie S^xt ？

Sptigfctt ！
9Ba さ tnad^t 卩 e imertriigli ゆ lang?

猶 §iggcmg ！
aBa« bringt in © ゆ utben?

§arren unb bulben ！
SBa さ tnac^t getDmncn?

5Ki^t lange befinncn !
SBa« bringt gu り reti?

©id^ tt)e^ren !

116. Qe^ire.

3loxh unb 2Beft unb (gttb が rftjtittem'
Z^xont berften, 9ieid|e jittern,

(Soettjes <8ebid?te.

55tiid()tc tm, im reinen Often
^atriar^cnluft ju foften,
Unter gieben, SWtifen, ©mgen
@otI bid^ g^ifer^ Quell DerjUttgen.

J)ort im SRcinen unb im 9ie ゆ ten
SBill ic^ tnetif ゆ Hc^en ®ef ゆ te ゆ teti
3^tt be« Urfpnmg 各 SEiefc bringen,
SBo fie no6) Don ®ott empfingen
§hmnetete り r, in (Srbef^jrac^en
Unb fid| Tii ゆ t ben ^o<3f jerbra ゆ etu

2Bo \x6) 9?ater ^oc^ Dere^rtcn,
Ocbctt fretnben Dienft Dcrmclirten ；
Sill tnid) frcun ber ^^ugcnbf^ranfe :
Olaube tt)eit, eng ber ®ebcmfe,
SBie さ 2Bort fo xoxd)tiQ bort nmr,
SBeil e さ ein gefproc^en SBort ttmr.

SBitI mic^ unter §trten tnifc^eti,
9ln Dafen tnic^ erfrif ゆ eti,
SBenn mit ^arattmtieti ttmtibte,
@ り att)I, taffee unb aWofc^it さ り atiMe :
Qthtn ^fab tt)iH x6) betreten
3Son ber SBttfte ju ben ©tiibtcn.

^Biifett gefett)eg auf unb nieber
Sroften, ©cifi さ, betne Sieber,
SBcnn ber き tt り rer mit gntgUdten
aSon be« aWauItier^ govern SRuden
©itigt, bic ©terne 3U ertDeden
Unb bie dt&uitx in crfc^rcdcti.

136

(Soettjes (Sebxdfte

2BiK in Sabem unb in ©cfjcnfcn,
^eiPger ©afl さ, betn gebenlen,
SEBenn ben @ ゆ leier Siebdien litftet
©^uttdnb 3lmbraIo(fen buftct.
55 3a, be さ I)i ゆ ter さ Stebefluftem

ajia ゆ e felbft bie ©uri さ tUftem*

SBoHtct ゆ r t^m Me さ bcnctben,
Dber ettt)a gar t)crleiben ；
SBiffet Tiur, ba^ ！ Dtc^temortc
40 Um be さ ^arabtefe^ ^forte

Smmer leife flopfcnb f ゆ mebeti,
®td| erbittenb ett)，ge さ Scbcn*

117. £iitla&int$«

SJhtgt nic^t り or bem Stage flie^cn ；
Denn ber 2^ag, ben bu ereileft,
3?[t ttit^t beffer a (さ ber り eufge ；
9lber tDenn bu fro り Dermeiteft,

5 2So iS) mix bie SBclt befeifge,

Um bie SBett an mx^ 3U jie^en,
Sift bu gleic^ mit mir geborgen :
§eut ift り eute, morgeti ntorgen,
Unb folgt unb nm さ Dcrgangctt,

10 SRet^t nxijt l)m unb Meibt ni6)t ^angcn.

^Bleibe bu, metn 3inertteb[tc« ；
2)ettTi bu bringft e さ unb bu giebft c^.

(Soettjes (Sebidpte.

118.

mfiglic^, bag i^, 8ie& ゆ en, bid} fofe,
9?eme^tne ber gotttid^en ©timme @ ゆ aH ！
Unmogtic^ f き itit immer bie 啊 e,
Uttbegreipid^ bie Slac^tigaU.

119.

Die SBcIt burc^au^ i[t liebtic^ anjuf^auen,
SSorjtigltc^ aber fd|on bie SBelt ber ！ Eic^ter ；
9luf tmnteti, り etkn obcr fitbergraucn
Oefllben, Sag unb 9la ゆ t, ergtihijeti 8i ゆ ter*
§eut ift tnir aUeg ^crrUd) ； totnv!^ nur Mfebe ！
S6) fcf)e ^eut bur め 各 Slugengta^ ber Sicbc.

• 120.

Sotrnn, 8icb(^ett, fomtn ！ umtDtnbe tnir bie Wiii^ ！
9lit さ beiner §anb nur ift ber SCulbenb f^on.
§at 2166a さ bod), auf Qxan^ り i5 ゅ卩 em @i お e,
@em §aupt m6)t gierlid^er umminben fe り n!

®n Stulbenb mx さ Sanb, tm さ Sltefanbem
3fn (gc^Ieifcn fc^on Dom ^auptt fiet
Unb alien き olge り errf ゆ em, ienen atibem,
9H さ ^ontg^jierbc tDo^l gefieL

gin SEutbenb i 卩， さ, ber unfcm ^aifcr f ゆ mudet,
®ic Tiemiett ，さ Orotic, 3lamt ge り t m\)l り in!
3^utt)el unb ，erte 1 fei ba さ Slug' entgUdet I
Dcr fc^onfte ©c^mud ift \m ber aJhiffetin.

138

(Soe ゆ es <Sebid?te

Uttb biefen り ier, gatij rein unb filbcrftrctpg,
UmtDmbc, ゆ en, um bie ®tirn um り er.
15 SBa« ift benn ふお t ？ mx tft ftc gcWufig I
©u fdiauft mi ゆ an, x6) bin \o grog al^ cr.

121.

©tt Satfcr l^attc jtt)et S^affiere,
ginen jum 9te り men, ctncn gum ©^jcnbcn ；
！ Diefem pef 各 nur fo au さ ben ^anben,
3^ener hm§te tiic^t, h)oI)cr ju nd^mcn*

5 Der ©pettbetibe [tarb ； ber §errfd)er tt)U§tc nic^t gfei ゆ
2Bcm ba さ Oeberamt fei anjutjertraucn,
Unb tt)te man faum ゆ iit， um fid) f ゆ aiten,
®o mar ber 9?e^tner unenbtic^ rcidE) ；
3Katt nm§te faum わ or ®otb }U leben,

10 aSeit man einen 2^ag ttid^t^-au^gegcben.
©a mxi nun erft bem S^aifer flar,
9Ba6 f^ulb an aflem Unl^eit war.
®en ^ufaH nm§t, er n)o り t ju fd^ft お en,
9?ie tt)ieber bie ©telle befe お etu

122. iRcftdnbni^.

2Ba^ ift f^wcr 3U t)erbergen? Da さ geucr ！
！ Denn bei Stage uerriit ，さ ber dtand),
Sei 9?ac^t bic き tamme, tm さ Unge^cuer.
き enter ift \6)Xotx gu Dcrbergen aud^
5 ！ Die Stebe; nod) fo [title ge り egt,

@te bo ゆ gar lei ゆ t au さ ben Slugen fdjldgt*

(Soett^es (Scbtd?te.

9lttt fc^tDerfteti ju bergen ift ein ®ebicl)t;
3Kan ftetit e さ untem @^effd nic^t.
§at e さ ber Di ゆ ter frifc^ gefungen,
@o ift er gaTi3 bamm bun^brungen ；
©at cr e さ jiertic^, nett gef ゆ rieben,
SBifl er, bie gcmje SBelt fofl,g liebcn*
@r lie 卩 e さ iebem fro り unb taut,
Ob e さ Utt さ qufttt, ob e« erfmut.

123. Wint.

Unb bod) ^aben [ie ret^t, bie ic^ fdielte:

J)cnn bag ein SBort nic^t einfac^ gelte,

2)a さ mii^te 卩ゅ mo り t mm felbft Derftel^n.

®a さ 2Bort ift ein gft ゆ er! ^tDtfc^cn ben ©tdben

お Utfeti ein ^aar fcfjonc 9lugen り ert)otr*

J)er き ii ゆ er ift nur ein lieblic^er き lor,

gr t)evbe(ft tnir ^mx ba^ ®cfid^t,

5lber Im さ SWiib ゆ eti uerbirgt er tii ゆ t,

SBeil ba« ® ゆ impe, fie bcfifet,

！ X)a« 9lugc, tnir in さ 3luge btifet.

124.

SBcr tt)trb わ on ber SBctt ueriangcn,
SBa^ fie fetbft わ ermi§t unb trdumet,
$Ru(ftt)art« ober fcitmart^ btidtenb
©tet さ ben Stag be« Stag さ わ erfttmnet?
3f^r «cmu^n, ゆ r gutcr 2BttIe
§inft ttur Tia ゆ betn raf^en 8eben,
Unb ttm さ bu t)or ^fa^ren braut^teft,
3Kod^te fie bir l^cute geben.

(Soctt^es <Sebid?te.

125.

！ Die ^crle, bic bcr aWufc^ct cntrann,

©ic fc^onftc, l)od}gcborcn,

«3 賺 3futt)clier, bem gutcn 3Kann,

(Bpxai) fic: ^dj bin Dcrtoren ！

Smr ゆ bo り rft bu m ゆ, iticin fc^onc^ 9111,

g さ ift fogleic^ jcrriittct,

ma @d^tt)eftcm mug id), き all fur き all

3u fc^Iec^tcn fein gctuttct.

w3^c^ bettfe jcfet ttur an Oemitm,
！ Du mugt c« mir Dcrgeitjcn :
Denn iDcnn ic^ I|icr nxdjt graufam bin,
2Bic foil bie ®c^nur 卩 re ゆ eti?"

126. Qatem*

3li6)t ®clcgcnl|cit mac^t ©iebc,
®ic ift fctbft ber gro^tc Dieb;
！ Dcnn fic ftaljl ben 9?cft bcr gicbe
2)ic mir no(t) im §ergen blieb.

©ir り at fic il|n ubergcbcn,
ajjeme さ 8cbcn« 9SoCgctt)mn,
Da 后 tc^ nun, berarmt, mcin gcbcn
9lur t)on bir gciDdrtig bin,

2)oc^ id) ful)tc fdion grbarmcn
3fm Sarfunfcl beine さ ©Ii(f さ
Uttb crrrcu' in beinen Slrmen
aWic^ cmeuertctt ®ef ゆ irfg.

(Socttjcs <Sebid?tc.

127.

Sin Dotlen ©Ufc^cIitDcigcn,
©elicbte, ftel) nur ^in ！
？ a| bir bic grUc^tc jcigcn,
Umfd^alct fta ゆ fig griin.

®ie Ijangen langft gebatlet,
(Still, unbcfannt mit 卩 c^,
©tt 31ft, ber fc^aufclnb iDallet,
SBiegt fie gcbulbtglic^.

35oc^ imtncr reift Don innen
Unb fc^tt)ittt ber braune ^fent,
(Sr moc^tc 8uft geiDinncn
Unb ftt ゲ bie (Sonne gent.

Die (Senate pla お t, unb nicber
aWac^t er fid) freubig to さ；
@o fatten meinc Siebcr
®el)duft in beinen @c^o^.

128.

2Bo man mir ®ut さ erjeigt, itbcrall

，さ ift einc gfafc^c gitfen
5lm 9il|em unb Wain, tm 5WedartI)aI,

aWan bringt mir tadiclnb (Sitfer-
Unb nennt gar ntanc^en brauen SOtonn

SSiel feltncr ate ben (Silfer :
§at er ber aKenfd^l^eit m\)l get り cm,

■3ft immer nod) Icin gilfcr.

142

lO

巧

20

25

30

(Soetl^cs <Sebtd?te.

2)ic gutcn き呵 ten nennt man fo,

Scina^c tt)ie ben Silf er ；
Un さ madden ゆ re X\)attn fro^,

®ic Icben り oc^ tm (Silfer.
Unb manc^en 9?atncn ncnn' id^ k お,

(Still fc^oppctnb tneinen (Silfcr:
©ic tDcig e さ, tDcnn e さ nictnanb toti%

©a fd^medt mir erft bcr gitfcr.
23ott tneinen giebcrn fpre ゆ eti fie

き aft rii^mlid^ tt)ie Dom Silfcr,
Unb Slum' unb 3^cigc brec^cn fic

30? ゆ franjcnb unb ben (Silfer.
35a« atle さ xo'ax* cin grogrcd 一

Q6) tcilte gem ben gitfer 一
5Kd^m §afi さ au ゆ nur feincn Zdl

Unb fd^luvftc mit ben Silfcr.
2)rum cir id^ in ba さ ポ ambie さ,

2Bo leiber nic Dotn SUfer
35ie ©Idub'gen trinfen. ®ei er fu|,

S)er ©inune お meht! S*cm gilfer.
©efdittjmbc, ©afi さ, cile l^inl

！ Da ftcl)t cin 9Wmer gilfcr.

129.

Qtnt garftigc Skttel,
！ Die bul)Icrifc^c,
SBelt ^ei^t man fie,
3JJid^ l^at fie bctrogcn,
5 SBJie bie iibrigen aHc.

•<Soe ゆ es (Sebtc^te

143

®(aube Ti ゆ m fie mir tt)cg,
！ Dann bic goffnung
5Kutt iDoUtc fic
5ltt bic 8iebc,

lO

2)cn gcrcttctcn @d^a お
giir ett)ig gu fic^cm,
SCcitf x6) il)tt ttjcfelid^
^wifd^ctt ©ulcifa unb ®afi.
•§ebe さ bcr bcibcn 巧
^ecifcrt fic^ urn bie SBettc,
©oljcrc ^infcn ju etitri ゆ tett*
Unb tc^ bin rcid^er aid je:
S)cn ©laubcn \)aV id) iDiebcr ！
*9ltt il|rc 8icbc ben ©laubcn ； »
&, im Sed^cr, gctt)al)rt tnir
§erriid^e さ ®cful|l bcr ©cgentuart ；
2Ba さ tviU ba bic ©offnung ！

130. Bymbclutn.

5De さ aWaurerd SBanbcte,

g« flte ゆ t bent Scbcn,

Unb fcin ^cftrebcn,

g« gleid^t bcm ^anbetn

S)er aKcnfd^ctt auf grben. 5

5Dic ^ufunft bedct
©d^mcrgctt unb 幌 (fe*
@d^ritttt)ei« bcm ^lide,
J)od^ ungcfd^rcdct

(Soctfjes (Sebtc^tc

Unb \6)mx unb fdiiDcrcr
§angt einc ©iiCe
anit g り rfurc^t* ©ttUc
9Jul)n obctt bic ©tcmc
Unb untcn bie ©rftber.

Sctrac^f fie genaucr,
Unb fic^c, fo tnetben

Sufen bcr ©clbcn
®ic^ iDanbetttbc ©d^auer
Unb emftc ®cful|lc.

35oc^ rufcn don briibcn
35ic ©titntnen bcr ©eiftcr,
！ Die ©tintTnctt bcr SKciftcr :
SScrfSumt nic^t 3U iibcn
！ Die Staftc be さ ©utcti!

©ier fie ゆ ten fid| Stoneti
3n ciDiger (Stifle,
2)ie foUcn mit giille
！ Die 2^l)atigen loI|ttcn ！
SBir ]^ei|ctt eud| l^offcn-

131. Hen 6. 3ttni

35u Dcrfud^ft, ©onne, uergebcn^,
©urd^ bic biiftcrn SBoIfcn ju fd^cmcn!
35cr gongc ®ctt)mn nteitte さ 8cbcn^
3ft, i^ren 9Scriuft ju beiDcmen*

<5oettjes (Sebtc^te.

145

132. Un UU^anbcv von ^nmhoibt.

aOBeimar, ben 12. 3uni 18I6.

Sin SCraucrtagen

Oelangtc ju mir bcin tjcrrlic^ §cft!

@ さ fc^ictt ju f agen :

grmanne bic^ 3u froIjUc^cm ©efd^dft!

2)ie SBelt in alien gotten griint unb blul)t 5

3la6) cttjigctt, bcttjcglid^cn ©cfcfeen ；

2)a« iDugtcft bu ia fonft ju fdEicifecn,

(Sr^eitre |o burd^ mid| bein fc^lDcr bcbrangt ©ctniit ！

133. 75aVLabc.

§crcm, bu ®uter! bu Slltcr, り ereiti!

§icr Utttctt im ®aalc ba finb xoxv allcin,

SSMr iDoIIen bic ポ forte Derfc^Iicgen-

2)ic aJhittcr, fic betct, bcr SSater im §am

■3ft gangen, bic SBoIfc ju fc^ie^en. 5

D, fing im さ cin 3JWrc^en, 0, fing e さ im さ oft,

2)a| i ゆ unb bcr ©ruber e さ temc;

2Bir IjabcTt fd^on Wtigft cinen ©anger g ゆ offt —

！ Die お Tiber, fic tjoren e さ gem に

Svx ndc^ttic^cn (Sd)veden, im femblid^cn ®rau さ lo

fficrla^t cr ba さ t)o^e, ba さ り errii ゆ e §au さ,

2)ie ®cf)S^c, Me l)at er Dergrabcn*

'Ccr ®raf nun fo eilig gum ^fdrtdien l^htau さ,

2Ba さ mag cr im Slrme benn Ijaben?

2Ba さ birgct cr utiter bem 3Kcmtet gefd^iuinb? 15

2Ba さ trfigt er |o rafc^ in bic き erne?

(Sin Stodjtertein ift e さ, ba fd^tdft nun ba さ Sinb 一

35ic Sinbcr, fie l^oren e さ geme.

146

<5oett^es <5ebtd?te.

3lm l^cllt fic^ bcr SWorgcn, bie SBclt ift fo tt)ctt,
20 3^tt ^'dkm unb SBdlbem bie SBo^nung bercit,
©orfem crqutdt man ben ©anger.
@o f ゆ reitet unb l^cifc^t cr unbcnflic^c ^eit,
35cr ©art M6)]t i り m Idngcr unb langer ；
5Dod| tt) 呵 t in bem 3lnnc ba さ ticblid^c ま b,
25 2Bic unter bcm gliidlid^ftcn @teme,

©cfc^iifet in bcm SWantcI Dor 9Jegcn unb 2Bmb ―
Die Sinbcr, fic \j'6xtn e さ gcme.

Unb immcr finb iDcitcr bic Qa\)xt gcrildft,

！ Dcr aWantet tnt^dvbt fi^, bcr aWantel gerftUdt,
30 (Sr fonntc fie Iftngcr nic^t faffen*

！ I)cr 3Sater, cr \6)aut fie, tt)ic ift er begliitft 1

gr farm fid^ fiir grcubc mijt laffen;

®o \6)on unb fo ebcl crfc^cint fie jugleic^,

©ntfproffcn au さ tud^tigcm Scntc,
35 2Bic mad^t fie ben SSatcr, ben tcurcn, fo rei ゆ ！ 一

！ Die Sinber, fic Ijorcn e さ gcrnc.

！ Da rcitet em fiirftlic^cr 9?ittcr り ercm,

@ie redet bic ©anb au«, ber ®abc ju na^ti,

Sllmofen tt)i(I cr nic^t gcben.
40 ©r faffet ba« gdnbd^en fo fraftigtidi an:

！ Die ttJtll i ゆ, fo ruft er, auf^ 8ebcn!

©rfcnnft bu, emibcrt ber 3lltc, ben ® ゆ a^j,

@rl|cbft bu pr giirftin fic gcmc;

®ic fci bir t)crlobct auf griincnbcm や lafe —
45 S)ie iJinbcr, fie l)orcn e さ gernc.

®ic fegnet ben ^ricfter am Ijciligcn Drt,
aJiit 8u[t unb mit Unluft nun jic^ct fic fort,

<5oettjes <Sebtd?te.

147

©ic modite tnrni SSatcv nid^t fd^cibcn.

!Dcr SUtc, cr tt)anbclt nun l)icr unb balb bort,

Sr trdgct in greuben fcin Scibcn. 50

®o l^ab， id) mir Qafixt bie Xo6)ttx geba ゆ t,

2) ic Snfetein tt)oI|t in ber き erne ；

®ic fcgn' i ゆ bci Jage, fie fegn' id) bd 9?a ゆ t 一
！ Die 贷 ittber, fie l)orcn e さ gemc.

©r fcgnet bic Sinbcr ； ba polterfd am Zl)ov, 55

iDer SSatcr, ba ift er ！ ®ic fpringen り ert)or,

®ic lonncn ben 3llten nid|t bergen —

©a さ lodfft bu bie tinber ！ bu ©ettter ！ bu V)ox ！

(Srgreift il)n, ゆ r eifcmcn © ゆ ergeti ！

^um tiefften 23ertie« ben 3Sertt)egenen fort! 60

©ic 3JZutter り emimmt ，さ in ber gcme,

®ic eilct, fie Wttet mit fc^meic^ctnbcm SBort 一

35ic Sbiber, fie Ijoren e さ gcrnc*

3) ic ®(l)crgen, fie laffen ben SBUrbigen 卩ゆ n,

Unb abutter unb S^inbcr, fie bitten fo fc^on ； 65

2) er furfttic^c ©totjc Dcrbdget

®ic grimmigc SBut, i^n entriiftet bag gfe り ti,

S3te enbtic^ fein ®c^)tt)eigen jerrci^et :

！ I)u niebrigc ©rut! bu Dom S3ett(ergefd|Icd^t 1

33crfinftcruttg fUrfttic^er ®tcmc 1 70

S^v bringt mir SSerberbcn ! ®ef c^iel^t mir bo ゆ rcc^t ―

！ I)ic Sinbcr, fie り dreti, さ tti ゆ t gcrne.

3tod| ftc^et ber Sllte mit l^crrlid^cm SSM,

3) ic cifemctt ©emergen, fie tretcn juriid,

S さ iDdc^ift nur ba さ Zobtn unb ffiiiten. 75

148 (goett^es (Sebtc^te.

®c{|on (ange Dcrfluc^f icf) tncin c^Iid^c^ OlUd,
！ Da さ finb nun bic griic^tc ber Sluten ！
3Kan (cugnete pet さ, unb man Icugnet mit SRec^t,
• 2)a6 ic fic^ bcr 5lbcl crleme,
80 Die Settlcritt jeugte mir ©etttergef ゆ le ゆ t —
2)ic Somber, fie tjoren'^ nic^t gernc.

Unb iDcnn cud^ ber ®attc, bcr 3Satcr Dcrftogt,
2)ic IjeHigften ©anbe t)crtt)egenttic^) loft,
©0 fommt ju bem SSater, bcm Sl^ncn ！

85 !Dcr ©ctttcr Dcrmag, fo ergraut unb cntblogt,
Qnd) り errlic^e SBcgc 3U ba^nen-
!Dic Surg, bic i[t tncine I Du l^aft fie gcraubt,
Wd) tvkb bem ®cfc^lcd|t in bie gcmc ；
SBo^t bin id) mit foftlic^cn ©iegcln bcgtaubt ！ 一

90 Die S'inbcr, fic l^orcn e さ geme.

SRed^tmcigigcr Sdnig, er fcljret juriid,
Den SEreuen berieil^t cr entiucnbeted ©lUd,
Sd) lofc bic ©ieget ber ©c^afec.
®o rufet ber 3Utc mit frcunblid}cm -Slid:
95 (Sud^ liinb' id^ bic milben ®cfc^e.

gr^otc bid), ®o^n 1 g さ entwidett gut,
§eut cinen fi ゆ felige ®terne,
!Die gUrftin, fic jeugte bir fiirftlid^e^ ©tut —
2)ic ^ittbev, fie ^oren e^^ gcme*

134. ttm mitUvnadtt.

Um 3Jiitteniad}t ging ic^, md)t ebcn gcmc
filein, fteittcr ^nabt, jcncn Sir ゆり of ^in

(Soetl^es <5ebtc^te

149

SSater さ §au さ, be さ ^farrer さ ； ©tern am ©teme,
@ie Icuc^teten ho6) alk gar ju fc^on ；

Urn 3Kittcmac^t* 5

SBcnn id) bcmn ferner in bc« fiebeti さ SBeitc
^ur £ieb 卩 eti mugte, mu^te, tt)cit fie jog,
©eftim unb 9lorbfd|eitt uber mir im ©trcitc,
gcl)cnb, fommcnb ©ctigfciten fog ；

Urn aWitternac^t. 10

おお bann julcfet be さ DoMcn aWotibe さ ©rile
®o flar unb beutltdi mir m さ ginfterc brang,
3luc^ bcr Oebanle mitlig, finnig, fc^nefle,

um さ SScrgangnc xok urn さ お itiftige f ゆ tcmg;
Urn 3Kittcntac^t. 15

135. Un ^vanUin t>on SdjiUcr.

2)cn 10. Sluguft 1819.

SBdl fo Diet ju fagcn tt)ar,
SBu^f id) Tiic ^お JU I'agett,
Db bie ©latter gtetc^ cin Saljx
2Kir t)orm Slugc lagen.

-3c(jo, ba bu fic cntfulirt, 5
2Kag bic ^ebcr tt)altcn ；
5Denn e さ bleibt, xok 卩ギさ gebii り rt,
3'Tntncrfort bcim Slttetu

2Kilbe gum 9Scr[tanb(ic^)en

SBirb bic 2Kutter malinen, 10

©eutenb jum UnenM ゆ eti

3luf be さ aSater さ S3al)nen.

<5oetIjes <5ebt(^te

136. €int 疼

©cute ft ギ ic^ mcine SBad^c
SSor be さ ネ arabiefe さ SEIjor,
SBeig ni ゆ t grabe, wit ic^ ，さ macf)e,
S'omtnft mir fo dcrbad^tig t)or I

Db bu unfcm 3Ko さ tmhtett
Slud) re ゆ t cigcntlic^ Dcmanbt ？
Db beta Sampfcn, bein 23crbienen
35 ゆ （m さ ポ arabieg gcfanbt?

3 晰 t bu bi^ ju jcnen ^etben?
Sdge beine SBJunben an,
©ic mir り mtid^e さ Dermclben,
Unb ic^ fiiljrc bi ゆ l^cran.

Didjter.

Stid^t fo Diclc^ gebertefen!
8a6 mic^ immcr nur ま hi:
35cnn ゆ bin ein 3Jlen\^ gciDcfcn,
Unb ba さ I|ei|t citi Siimpfer fcin.

(S^drfe bcinc friiffgctt ©tide ！
©icr bur ゆ fc^ttue biefe ©ruft,
©fe り bcr Scben^iDunbctt ZMe^
®iel| bcr 8icbc«tt)unbcn Snft!

Unb boc^ fang ic^ gtciub'gcrlDcifc :
5Da| mir bie ©cliebtc treu,

bic SBelt, tvie fic auc^ freife,
!i?icbet)oM unb banfbar fei.

(Soett^es <5ebtd?te. 151

3Rit ben SErepd^ftcn gufammcn 25
2Birft， id), bi^ ic^ mir eriattgt,
2)a| Tncin 9?am， in 8iebe さ flantmeti
23on ben fd^onften gerjen pratigt*

Stein ！ bu tt)(it)lft niijt ben Oeringern 1
®ieb bic §attb, ba^ STag fiir Sag 30
^6) an beincn jartcn gingem
gwigfeiten jci^len mag. •

137. Cttft tttU^ QuaU

^abe fa^ ic^, gifdicrfnabe,

3luf bent fdiwarieti gcte tm 9Keer,

Unb bercttenb fatfd^e ®abc, •

®ang x6), Icmf ゆ enb ring さ um り er.

3lnge( f(^tt)cbte lodcnb nieber ； s

®tei ゆ ein gif ゆ lein ftrcift unb f ゆ ttappt,

®c^abcnfrol)c ©c^clmenlieber 一

Unb ba さ gifc^ilcm war erto^pt,

3lc^ ！ am Ufer, bur ゆ bie glurcn,

3^it さ ©cftiiftc tief jutn gain, 10

き olfgt, ic^ einer ©o^Ic ®purcn,

Unb bie ^irtin toax allritu

Slide finlen, SBortc ftoden ! 一

SBic cin SEafdjcnmeffcr fc^nappt,

gagtc fic mic^ in bic お odeti, 15

Unb ba さ Subc^en mv txtappt

aBcig bod) ®ott, mit tt)et ゆ ent §irtcn
®ie auf さ neue fic^ ergeljt 1

(Soe ゆ es (Sebtc^te.

aJhiB ゆ in bag SJiecr mx6) gurtcn,
2Bic e さ faufet, tt)ie e さ tt)e^t
SBcnn mid) oft im 9?e お e jammcrt
！ Da さ ®ett)iinmct gro も unb flciti,
^^tnmer mb6)f \6) nod) umflammert
5Roc^ mm ゆ ren Slrmen fein!

138.

SBctttt ic^ auf bent SWarftc ge り，

©ur ゆ さ ©cbrangc

Unb tm さ pbfc^e aWfibc^eit fel^'

Sn ber SJJenge ；

® ゆ， ゆ l)ier, fie fommt tjevan,

Slber briibcn ；

9?icTnanb fiel|t utt さ bdben an,
2Bie U)ir lieben.

,,2lfter> l)orft bu noc^ nic^t auf ！
^^tntncr SDWbc^en!
^tt bcm jungen &ben さ lauf
aSar ，さ ein

midjt jefet ben Zaq Derf u^t ？
®ag'« mit tlarl)eit."
@el)t ttur が n, tt)ie fic mii) grii も t'
e さ ift bie SBa り ゆ eiU

139.

2)u gmgft t)orubcr ？ SBic! id) fa り bic^ tii ゆ t;
2)u famft jurild, btd^ l^ab， ic^ tii ゆ t gefcljcn 一

(Soettjes <Sebtd?te.

153

3ScrIomcr, ungliidfefger Slugcnbfid ！

S3m id| benn blinb? SBic foil mir ba« gcfd^ct)cn ？

aDoc^ troff id^ mic^, unb bu Derjei^ft mir gem, 5
gntfc^ulbigung tt)irft bu mit greubc finben ；
Sd) fel|c bic^, bift bu du ゆ noi) \o fern ！
Unb in bcr 5RaI|e fannft bu mir Derfd^njinben.

140. <Ete$te«.

Unb tvenn ber 9Renf(!^ in fctncr Cluctt k)erftummt,
®ah mir etn ®ott ju fagen, h>a8 ic^ leibe.

SBa さ foC id) nun Dom SBieberfe^en り offen,
9Son Mefe さ Jage さ no6) gcfc^to|ner ©tutc?
S)a さ ポ arabk さ, bie §olIc fte^t biv offcn ；
SBic wanletfinnig regt fic^ ，さ im ©emiitc ! 一
Scin ^iDcifdn nt ゆ r! ®ic tritt cm さ ©imme おゆ or, 5
tl|rcn Slrmen l)ebt fie bic^ empor,

®o warft bu bcnn im ポ arabie さ ctnpfangcn,

Site iDiirft bu iDcrt be さ cmig fd^oncn Sebcnd ；

Dir bticb Icin SBunfc^, fcin §offcn, fcin 3Scrlangen,

§icr mx ba さ S^d bed innigften S3cftrcbcn^, 10

Unb itt bem Slnfdiaun biefe さ cinjig ©c^onen

fficrfiegtc glcic^ bcr QucU fe^nfuc^tiger J^rdncn.

9Bte rcgtc nic^t bev Jag bie rafc^en gliigel,
(B6)kn bic aWinutcn Dor fi ゆ l)er ju treiben ！
！ Der 5lbenbfu|, em treu Dcrbinblic^ ©iegel : 15
®o tt)irb c« aud^ bcr ntic^ften ©onne bteibcn.
Die ®tunbcn gltc^en fic^ in jartcm SBanbcrn
Ste ®d^tt)c[tem ixoax, bod^ fcitte ganj ben anbem.

154 <5octf^es (Sebtdpte.

35er あ ber (efetc, graufatn gcrfc^ncibcnb
20 ®n l^errKd^e さ ©cflcdit t)erfd^tungncr aJimnen.

9?un eUt, nun ftocft ber き ug, bic ©c^ttjeCc meibcnb,
2lt« tricb' em Sljenib flammcnb t^n t)on り intiett ；
!Da« Sluge ftarrt auf biiftrcm ポ fab t)crbroffcn,
g さ blidft jurutf, bic ポ forte 卩ゆ t Dcrfd^Ioffcti.

25 Unb nun t)crfd^Ioffcn in fid^ fclbft, ate l^dtte
35k さ §erj fid^ nie geoffnet, fcligc ©tunbcn
SDWt jebcm @tcm be さ ね unmet さ um bic SBcttc
Sin i^rcr ®eite tcuc^tenb m6)t cmpfunben ；
Unb ajjigtnut, 9Jcue, SSorumrf, ©orgcnfd^tucrc

30 ©elaften'd nun in fd^witlcr Sltmofp^iirc.

3ft benn bic SBcIt md)t iibrig ？ gcIfcniDdnbe,
®inb fic nic^t me り r gcfront Don ^eitigen ®dE)attcn?
2)ie Srnte, reift fie md)t ？ (Sin grun ©eldnbc,
Sk\)t fi ゆ， さ ttic^t り in am き tu お bur ゆ Sufc^ unb aJiatten ？
35 Unb ttjolbt fic^ nic^t ba さ ubcmctttid^ ®roge,
©eftaltenrcid^c, balb ©cftaltenlofc ？

333ic leid^t unb jicrlidi, Har unb jart gcttjoben,
(Bi}totbtf (Stxapij Qltid), au さ ernfter SBolfen S り or.
Sit さ glid)' e さ i り r, am blauen Sitt)cr broben
40 gin fcf)Ianf ®cbilb au さ lid^tcm Duft txnpox ； 、
@o fal)ft bu fie in froljem SEangc ttmlten,

2) ie lieblic^ftc ber (icblid^ftcn ©eftalten.

3) oc^ nur aKomctttc barf 卩 bi ゆ untcrtt)inbctt,
Sin guftgebilb ftatt il|rcr fcftjul^altcn ；

45 3it さ §erg juritd, bort tt)irft bu, さ beffcr finben,
Dort regt fic fid^ in iDed^fcInben ©cftdtcn ；

(Soctt^cs (Sebtd^te.

155

3u totclen btlbet eine ficfi l^muber,

©0 taufenbfacfi unb immcr, tmtncr Itcbcr.

SBic jum @Tn))fang fie cm ben ^fortcn meiltc
Unb mi ゆ Don bannauf [tufcntoei^ bcglucftc ； so
©elbft tm ゆ bent Icfetcn mid) no^ ereilte,
©en le お teftett mir auf bic 2i)f>ptn briicf tc :
®o flar bemegltcti bicibt ba さ Silb ber Sicben,
aWit glammenfdirift in さ trcuc §crj gcfcfiricbcn.

■3ti さ ©eq, ba さ fcft tok jinnenl^ol^e SWauer 55

tl^r bemal^rt unb fie in fid^ betoal^rct,
gur fie ficfi frcut an feiner eignen ！ Dauer,
9?ur toeig Don fi ゆ, toetin fic ft^ offenbaret,
@tcf| frcicr ful^It in fo gcliebten © ゆ ranfeti
Unb nur no ゆ fcfilagt, fiiv alle さ xf^v ju banfcn. 60

SBar giil^igfeit ju licben, mx Sebiirfen

33on ©egcniicbe tt)cggeIofd)t, DerfcfiiDunbcn ；

■3 卩 $offnung«Iu[t ju frcubigcn gnttoiirfen,

gntf^Iuffctt, rafter 5£ り at foglcicfi gcfunbcn!

9Bcnn Siebc {e ben 8icbcnben bcgct[tet, 65

SBarb e さ an mir aufg Iiebltcf|[te gclci[tct ；

Unb jtoar buret} fie ！ — SBie lag cin inured Sangcn
Sluf ®ei[t unb ^oxptx, untDtUfommner ©^toeve :
3Son ©cfiauerbilbem ring さ ber Slid umfangcn

tDiiften SRaum beflommner §erjen«Ieerc ； to
9?un bdtntnert ^offnung toon belannter © ゆ toelk,
©ie fclbft crfcfietnt in milbcr Sornieti り elle*

！ Dctn き riebeti ®otte さ, toelc^er eucfi l^icniebcn
3Ke り r ate SSemunft bcfcltgct 一 toir lefen'^ 一

156 (Soett^es (Scbic^te.

75 SJerglri ゆ, tc^ too\)i bcr gicbc l^citcm き riebeti
3ti ®egcntt)art bc« allgclicbtcn SScf cn^ ；
Da rul)t bd さ §erj, unb tii ゆお わ ermag gu ftoren
3)cn ticfften ©inn, ben @hm, i り r ju gc^orcn.

3tt utifer さ S3ufcn^ 9?ciitc mogt cin @trcben,
80 ® ゆ cinctn §o^cm, JRciitcm, Unbcfantiteti
5lu« Danfbarfeit freimillig ^mgugebcit,
gtttratfclnb 卩ゅ ben emig Ungctianntcn ；
SBir り ri§eit,g: frotnm fciit! 一 @oIcf|cr fcligcti §6 り e
き り t， id^ mi ゆ tri ゆ aft, mm id) t)or ゆ r ftc^c.

85 95or ゆ rem 4BUcf, ti)te toor bcr Sotiitc SBaltcti,
95or ゆ rem Sltem, tt)tc t)or gru^Img^Iuftcti,
3er[c^tniljt, fo Idngft ftd^ cifig ftarr gc^altcn,
©cr Selbftfinn ticf in mititcrlid^en ©ruftcn ；
^eitt ©gcnnufe, leiti gigetiiDillc bauert,

90 9Sor ゆ rem ^OTntncii fxnb ftc mcggcfc^auert.

® さ i[t, aid iDCTtn fie fagte : „Stimb， urn ©tutibc
SBirb uit さ bag 2eben frcunblic^ bargcbotcn,
Da« ©eftrigc Keg uti さ geringc S'unbc,
3)a さ SWorgenbc, ju ttjiffen t)crbotcn ；
95 Unb iDCtttt id) jc mi ゆ わ or bcm Slbcnb fd^eutc,
！ Die ©otmc fani unb fa り nod|, mad tntdi frcutc.

"3)rum ゆ u tok td| unb f ゆ aue, fro り t)cr[tdnbi9,
Dem augcTiblicf in さ Sluge! ^citi SScrfc^icbcti!
S3cgcgn' i^m f ゆ tiell, iDo^tooUenb mie Icbetibig,
100 ^atibclit fei ，さ gur grcubc, fei, さ bcm giebeti ；

Star m bu bift, fci aUe さ， immcr fhibt ゆ,
©0 bift bu oHe さ， bift utiubcmmblidi.''

(SoetJ^es (5cbtd?te

157

©u I)a[t gut reben, im ゆ t， ゆ, gum ®clcite

®ab bir cin ®ott bic ®un[t bc6 Slugetiblicfe さ，

Unb {cbcr fi' ゆ It an bciner ^olben @eitc 105

©i ゆ SlugetiMid さ ben ©unftling bc« ©ef^icf ；

ajjid^ fcfirccft bcr JBinf, Don bir mtcfi ju cntfcrncn,

2Bq« l^ilft お mir, fo り ol^e JBei さり eit lemen ！

3lm bin i ゆ fern! 35er jefetgcn aJitnute,

SBa さ jietnt benn ber? <3 ゆ lDu|f e さ nid)t ju f agen ; no

©tc bietet mir jum ®cf|onen mand^e さ ®utc,

Da さ laftct nur, id) tnu| mi ゆ i り m entfcf|Iagen ；

3Kidt) treibt uml)cr ein unbejtoinglicfi ©e^nen,

Da bletbt km SRat aU grengenlofc St^rcincn*

®o quetit benn fort 1 unb flicget unaufl^altfam ； ns
iDod) nie geliitig ，さ, bie innre ®lut ju bampfcn I
© ゆ on raff^ unb rci|t in tneiner ^ruft gctoaltfam,
SBo 2:0b unb geben graufcnb ficfi bcfatn))fcn.
SBoI)I ^rduter Qai% be さ mvpev^ Qual ju [tillen ；
mein bem ®ei[t fet)If« am gntfdt)Iu6 unb mUen, 120

き e り tfg am Segriff : tvk foKt， cr fie Devmiffen?

Sr n)ieberI)oIt if)v ^tlb ju taufenbmalen.

®a« jaubert balb, balb tvivb e さ tt)cggeri|fen,

Uttbcutli^ icfet unb jefet im reinftcn ©tra^len ；

2Bic fonnte bie さ geringftem 2:roftc fromtnen, 125

Die &V unb glut, ba さ ©el^cn tvie ba さ tommen?

SScrla^t mi ゆ り kr, getreue 9Beggeno[fen!

8a|t mi ゆ aflein am き el さ, in SlRoor unb SKoo さ ；

5Rur immer ju! eucfi tft bic SBelt crfdjloffen,

iDie grbe Wcit, bcr §immet り e り r unb gro| ； リ。

(Soctt^es (5ebid?te.

Sctracf|tct, forfcf|t, bie ©i^e ゆ eiteti famtncit,
9?aturge^eimni^ toerbe nadigcftammclt.

Wxv tft さ 2111, ゆ bin tnir felb[t t)crIorcit,
S)cr id) no^ ' er[t ben ®ottern ？ icbltng wax;
(Sie ))ruften mid), Dcrliel^en tnir ^anborcn,
©0 rei^ an ® ほ tent, reic^er an ®efa^r ；
(So briingten mid) gum gabcfeligcn 3)hinbe,
@ic trenncn mi ゆ uitb ri ゆ ten tnid^ ju ®runbc.

141. Sd^toff Belrcbcrc in bcv Ubenbfonne*

Xin 21. Stuguft 1824.

grleud)tet au^cn り ゆ r t)om (gonnengolb,
SelDo り Tit im 3'tincrn trauli^, fro り unb り oft,
grgeigc fid) bein ganged 8cben fo:
9iacf| au^en I)errli ゆ, innen り olb unb fro り ♦

142. Bitb 5e& eUerlid^en Qaufes fit
^ranffuri am ntatn.

2ln biefcm Srunnen り aft an6) bu gef))ieft,

engen $Rautn bie SBeite り orgefi ゆ It;
©en SBanberftab cm さ fromtner abutter §aTib
9?a り mft bu getvoft in さ fcrn[te 8cbcn«Ianb
Unb tnagft nun gem DerIof^ne« Silb emcun,
Sim 1^0 り en ^xd Se さ erftcn ®d|ritt« bid) frcun.

ginc © ゆ toelle り ieg in さ 8ebcn
Uti さ Derfdjicbnc SBcge gel^ti;
9Bar e さ bocti ju cblem ®trcben,
®rum auf frol)e« SBieberf cljn ！

(Soctt^cs (Sebtd^tc.

159

143.

cmftcn S3cinl^au« mf^, too i6) bcf^autc,
SBie @ ゆ ttbe{ @d|dbeln angeorbnet l^agten ;
！ Die altc ^ext gcba^f id), bic crgraute.

©ie [tcl)n in SRd り gencmtnt, bie fonft ftcfi I)a|ten,
Unb bcrbe Sno ゆ en, bic ficfi tdblic^ f ゆ htgeti, 5
®tc Itcgen Ircugmd^, gal^tn all り ier ju ra[ten.

gntrenfte ©^ultcrbldtter! 5Ba さ fie trugeti,
tJragt nicmanb m ゆ r ； unb gicrlid) tl^cifge ©licber,
iDtc §anb, bcr き u§ jcrftreut au さ gcben^fugen.

Si)X aRuben alfo (agt り ergebeti さ nicber, 10
3tx6)t $Rul^ tm ®rabe Keg man cud), toertrieben
®eib tl^r I)erauf gum li ゆ ten S^age toieber,

Unb nictnanb farm bie biirre © ゆ de lieben,
SBel^ l^errlicfi eblen Sern fie audi bdtja^rtc.
Dod| tnir Slbepten tear bic © ゆ rift gcfdt)rieben, 15

Die ^cirgcn ©inn nict)t iebcm offenbarte,
31I« id) inmitten folder [tarrcn SJicnge
Unfcfiafebar り errfid^ cin ®ebilb gctoal^rtc,

J)a6 in be さ SRaumc6 aWobcrfalf unb engc
^6) frei unb ttjanneful^Icnb mi ゆ crquicfte, 20 .

ob ein Scben^qucU bent S^ob cntiprange,

SBic tnicfi gcI)cttnnt^t)oH bic gortn cntgudftc!
Die gottgcbadt)tc ©pur, bie ft ゆ er^alten ！
®tt S3ltcf, bcr mi ゆ an {cne« 50ieer entrudtc,

！ Da さ flutcnb [trotnt geftcigerte ©cftalten* 25
©e^eitn ©efft^/ Drafelf))rucl)e fpcnbcnb ！
2Bic bin id) totxt, hid} in bcr §anb ju l)altcn,

！ Cid) ^o^ften © ゆ a お an さ 9Wober fromm cntmcnbenb
Unb in bie freie 8uft, ju frctem ©innen,
3um ©onnenIicf|t atibtt ゆ tig l^in tnicfi toenbenb. 30

160

(Settles (Sebic^te

2Ba さ latitt bcr ajjcnfcl^ fan Scbcn m ゆ r gciDtnticn
m bag fic^ ®ott*5«atur tl)tn offcnbarc ？
2Bie fic bag gcftc lii^t gu ®ctft Dcrritincn,
SBie fic ba 各 ©eifterjcugtc feft belDal^rc.

144.

®ebtd)tc finb gcntalte genfterf cf|cibcn ！
®ie^t man toom SJiarft in bie S'ird^c l^iticin,
®a tft alle さ bunfcl unb bU[ter ；
Unb fo fie り t, さ aucti ber る err ^^iliftcr :
5 35cr mag bcnn too り t Dcrbric^Kc^ feiti

Unb leben^Iang Derbrie|Iicf| bicibcn*

^ommt abcr nur eintnal l^ercin ！
SJcgrii^t bic り eilige ^aptUe ；
!J)a i 卩， さ auf cinmcl farbig l^ette,
lo ®efcf|i^f unb i^kxat glcingt in @cf|ttet(e,

Scbeutenb toirtt ein cbler ©dieiti ;
Die さ toirb eucfi Sinbem ®otte さ taugeti,
Srbaut cu^ unb ergofet bie Slugen 1

145. 5 ゆ ま Xenien.

2Bcr in ber 2BeItgefcf|icf|tc lebt,
®etn 3IugenbKcf foHt' cr fid) ri^tcn?
SBer in bie ^titen fcfjaut unb [trebt, •
9iur ber ift toert, ju fprec^en unb bid^tcn

2.

@in alter aJiann tft [tet« cin ^onig gear!
2Ba さ §anb in §anb tnittoirfte, ftritt,
3ft Kngft Dorbeigcgangen,
aSa さ tnit unb cm bir liebtc, litt,
§at 卩ゅ m ember さ ange^ngen ；
I)ie iJugent) ift utn il^retmifleti l^ier,
@ さ tt)dre tl)oricf|t ju わ erlatigeti:
き mm, ciltcle bu tnit tnir.

3.

TO ゆお DOTtt SScrganglicfiett,
2Bie'« cm ゆ ge ゆ ゆ 1
Utt さ ju Dcretoigen,
@inb tt)ir ia im,

4.

„@ag' tiur, toie trcigft bu fo bc^dglicfi
Der tollen 3^ugcnb anmagUd)e« SBefeti?"
giimal^r fie n^aren miertriigli ゆ,

ビ id) ni^t cm ゆ unertriigli^ gemefen.

On^ ®icf|ere toiCft bu bicfi bctten!
3d) liebc tnir innercn ©trcit :
Denn wtnn toir bic 3 は eifel ntd)t , i)'dtttn,
9Bo mcire benn frol^e ®ett)i 的 dt?

6.

,,!5)ir toarUTtt bod) Derlicrt
®Icicf| all お aSert unb ®ett)i ゆ t?"

162

(Soett^es <Sebtd?te.

！ iDa« Z\)m intercffiert,
！ Da« ®e ゆ arte nid)t

SBie bad 卿 ini,
3P Ot)nc §aft,

3lbcr り tie SRaft,
Drel^e fid) jcbcr
Um bie eigne 8aft.

8.

,,2)u ^ft nicf|t red^t!" Da さ mag ttjo^t fcin;
35 T)oi) bag ju fagen, ift flein ；

§abe me り r rcc^t ate icf|! ！ Da さ mirb imig fcin,

Da« Sj:ucf)tigc, unb ttjenn cm ゆ fatf ゆ,
SBirtt SCag fur SCag, toon §au« ju ©au 各；
Da さ SCuditigc, metm ，さ tMl^r り aft ift,
SBtrft iibcr die ^txttn り maug.

40

45

10.

き e り Ift im, lag bicf|'« ni^t betrilbcn,
！ Denn ber ajjangel fiil^rt jum Siebcit ；
S'annft bid) nicf|t わ om き e 似 befrein,
SSirft bu anbcm gem tocrjci^n.

11,

SBdr' nicf|t ba さ 3Iuge fonnenl^aft,
!J)tc ©onnc fbnnf e さ nie erbltcfcn ；
8ag' nic^t in un« be さ ®otte さ eigne ^raft,
SBie fount' rni さ ©ottli^e^ entjuden ？

(Soett^es (Sebtd?te.

163

12.

@o fjOiS) bie 5Kafc rri ゆ t, ba mag ，各 too\)i g ゆ n ；
2Ba さ aber briiber ift, fonnen fie nid|t fcl^n. 5。

,,2Itiber さ lefen ^aben ben Serenj,
2Inber« ®rotiu さ,"

Tl\6) ^naben argertc bie ©entenj,
T)k id) nun gctten laffen mug.

aWit ber aSSelt urn 后 nictnanb lebcn, 55

911 さ tt)cr fie braucficn toill;

3ft er braucf|bar unb [tiH,

©oUf ev ftcfi lieber bcm 2^eufcl ergeben,

Site gu t り im, ttm さ fie xoxll

15*

SBitt einer ftcfi gctool^nen, 60

®o fd ，さ jUTtt ©uten, gum ®^onen.

aWan ゆ ue nur ba« $Re ゆ te,

2ltn gnbe bucft, am gnbe bicnt ber ®cf|lecf|tc.

16.

Sin rcincr SRcim toirb n^ol^I begcl^rt,

！ Cocfi ben ©ebanfen rein l^aben, 65

Die ebcl[te Don alien ©abeti,

Da« ift tnir alle SRcime tocrt

(5oe ゆ es (Sebi^tc.

It.

aWit ©iberlcgcn, SJebrngen, ^cgrimmen
SernU^t unb brilftet maitcficr
3 ゆ fann imrau さ nicf|t« mcitcr gcmmncn,
211 さ bag er anber^ bcnft xok

18.

SBie fruditbar tft bcr flcinftc Stcte,
SBenii man ゆ n m\ji gu ゆ gen tt)ci|.

19*

SBetm ^inbc^blicf begicrig fc^aut,
(Sr finbet bc« 23ater« §au« gcbaut ；
Unb wtnn ba« O り r fi(| crft わ ertraut,
3I)m tont ber SUhitterfpra ゆ e 8aut;
®ett)al)rt e さ bie さ unb jenc« ti ゆ,
aJian fabelt ゆ m, urn さ fern gefdia^,
Untftttigt il^n, U)ft ゆ ft cr り ercm ；
(5r finbet cbeii aHe さ ge ゆ an,
aJian rii り mt ゆ m Me さ, man prcift il^tn bad :
®r mdre gar gem auc^ etnm さ，
93Jic cr foil tohrfeit, fdiaffen, Kcbcn,
Da さ [tel^t ja alleg fcj^on gefc^ricbcn
Unb, tt)a さ nocfi fcf|litnntcr tft, gcbrucft;
！ Da ft ゆ t bcr jungc 9)?cnfcl) t)erbu(ft,
Unb citblid) mirb t^m offenbar :
gr fci nur, em anbrcr mar.

20.

®em ttjdr' id) Ubcrlicfning lo^
Unb gattj original ；

<Soetljc« (Sebtc^tc

Docfi ift bag Untcmcl^men gro^
Unb fiil^rt in tnancfie Qua!,
211 さ Slutoc^t り one re ゆ net， id)
© さ mir 3ur l^oc^ften 6 り re,
SBenn id) tii ゆ t gar ju tounbcrlic^
©dbft Ubcrliefrung toiire,

21.

SSoTtt SSater ^ab' bic ®tatur,
De« geben さ cmfte« き ii り reti,
SSon SWiittercfiett bic き ro り trntur
Unb 8u[t JU fabulieren.
Ura り ti り err mv ber ©c^onften l^olb,
！ Da« fpuft fo l^in unb ttrieber,
Ura^nfrau liebtc ©d^mucf unb ®oIb,
！ Da« ijudt tt)o^I burd^ bic ©liebcr.
©inb nun bic glcmente nt^t
2lu さ bem Sont))Iej gu trennen,
SBa« ift benn an bem ganjen 9Bicf|t
Original ju nennen?

22*

SCeilen farm icS) ni ゆ t tm さ gcbcn,
9?ic^t tm さ 3nncn nocfi ba« Slu^en,
SlMe さ muB tm さ ©anje gcben,
Urn mit cud) unb mir ju ^ufcn.
3^mmcr l^ab' i ゆ nur gefcf|rieben,
333ie i ゆ fu^Ie, tt)ie id^ ，さ tneine,
Unb fo f))alf \(S) mid), ゆ r 8ieben,
Unb bin itnmerfort ber eine*

166

(Soett^es (Sebtc^te.

23,

„^i) ijiclt mid) ftet さ Don aRci[tcm cntf cmt ；
5Kacf|treten marc mix ®cf|tnac^ 1
120 §at)， afle さ toon tnir felb[t gefernt" —
g さ ift and) bamacfi ！

24*

„^n ®oct^c« Denhnal toa さ jal^lft bu iefet?"
き rdgt biefer, jcncr unb' bcr. 一
§fttt， tc^ tnir ni^t felbft cin SDcnfmal gcfcfet,
125 5)a« Denfmat, m tarn' e さ bcnii り er?

25*

®ut Dcrlorctt 一 cttoa^ Derlorcn!
2Wu|t raf^ bicfi bcfinnen
Unb tieue さ gctoiitnen,
@ り re Derlorcn 一 Did tocrlorcn!
130 aWufet $Rul)tn gctDinnen,

Da toerben bie 8eute fic^ anber さ befinncn.
3Wut Derloren 一 alk さ toerloren!
！ Da xodf e さ beffer, nid)t geboren.

26. 2lngebenfcn.

Slngebenfcn an bad ®utc
135 §alt uti さ immer frifcfi bei SRute,

SIngebcnfcn an ba« @d)one
■3 卩 bag §eil ber gvbcnfo^ne,

. angebcnfen an ba^ 8iebe,

®Iu(f licfi ！ menn'« tcbenbig bliebe.

(Soetf^es <5ebid?te

167

2lngebcnlen cm tm さ ©nc 140
S3Ieibt ba さ Sefte, toa さ ic^ mcine,

21. SDen SScrcittigten @taaten,

Slmcrifa, bu り aft e 各 beffcr

211 さ unfer tontinent, ba« atte,

§aft feme Derfaflcnc ®d|toffer

Unb fcinc Safaltc. 145

T)\6) [tort nic^t im ^Jtmern •

3u lebenbigcr 3eit

Utmufee さ grmnem

Unb Dergebltcfier (gtreit,

お etmfet bic ®egcntt)art mit ©litcf 1 150

Unb tt)cnn nun eure Sinber bicf|lcn,

S3ett)a り re fie em gut ®cfcf|icf

3Sor ^Ritter*, SRituber- unb ©efpcnfter gcf cfiid^ten*

28.

fann micfi nicf|t bereben laffen,

t mir ben SCeufel nur nic^t flcin : 155
gin 贷 eri, ben aUe aJicnfdiett り affeti,
！ Der mug fein!

29. '

T)ie ©cutfcficn finb recf)t gutc 8cuf :

©inb fie cinjeln, fie bringen'^ n^eit ；

3lnn [tub i り Tieti cm ゆ bie grdgten S^ten 160

3 嫌 erftenmal itn ©an^cn geratcn-

fern jcbcr fpre^e Slmen bareiti,

！ Dag e 各 nid^t tnoge tm さ fefetc ajfal fein!

168

(Soctt^es <Sebtd?te.

165

170

5

10

30*

S3a さ bic ©rogcn ®ute« t り ateti,
@a り id^ oft in mcinem Scbcn ；
SBa さ rni さ nun Me 9Soltev geben,
む reti au«crtt)(i^ltc 9Bcifcn
9?un jufammctt fid^ beratcn,
9D?5gen unfre dntd prcifcn,
！ Die ，さ eriebcn.

146.

！ Cer ^udfud toie Me 9?a ゆ tigatt,
®ie tnocf|ten ben き ril り Ihig feffcin,
!j)a briingt bcr (Somtncr fd^on iibcrall
ma Difteln unb tnit 5Ke]fcln.
2lucf| mil* I)at er ba さ Ieicf|te 8aub
Sin ienent ^autn Dcrbicfitct,
Dur ゆ tm さ i ゆ fonft ju [c^dnftem SRaub
！ Ceti 8iebe«blicf geri^tet ；
aSerbcdt ift mir tm さ bunte ©ad),
5)ie ®itter unb bie ^foften ；
SBol^tn mein 3Iuge fpii^enb bra ゆ,
！ iDort ettrig bleibt mcin Often*

147.

Die [title greubc tuoHt ゆ r ftdren ？
fiagt mi ゆ bci tneinem beefier SBcin ；
SDMt anbem fann man ficfi belel^ren,
S3egeiftcrt toirb man nur atlcin*

(Soctl^cs (5cbid?te

169

148. Bern auf$et^en&en t>o(hnon&e»

5)orn&ur8, 25. 21 零 ft 1828.

SBtUft bu mtc^ fogleid) わ eriaffetil
SBarft ttn 5lugenbUd fo nal^ 1
！ I)tc^ unxfinftcrn SBoIfetiTnaffen,
Uttb turn bift bu gar nid^t ba,

！! )o ゆ bu fii り Ift, h)te tc^ betriibt bin, 5
SItcft beiti SRanb l^erauf ate ©tern I
^eugeft mir, bag i ゆ geltebt bin,
(Set ba さ Siebd^eti tio ゆ fo fern.

®o l^inan benn! l^elt unb l^eHcr,
ateiner SSoifu, in り oiler ポ ra ゆ t ！ lo
@d^Wgt mcitt §erj aud) fd^merglic^ f ゆ tieflei つ
Uberfcltg tft We 9ta ゆ t*

149. Bornbur^, Scptcmbev 1(828.

gr% tuenti Xi)al, ®ebirg unb ©artcti
9?ebelfcl|(eicm fid^ etitl^iUIett,
Uttb bem fel^nlid^fteti gmarten
Slumenfet^e bunt ゆ fitllcn ；

2Benn ber Stiver, aBoIteti tragetib, 5
2Ktt betn Harcti STage ftreitet,
Unb ein Dfttuinb, fie m'iagetit), .
SStaue ©onnenba^n bcrettet ；

！ iDantft bu banti, am 53Kd btd^ tueibenb,
ateincr 53ruft ber ®rogen, §oIben, 10
SBtrb bic ®onne, rotlid) fctjeibenb,
JRrng さ ben gorijotit tjcrgoiben.

170

(Soetljes (Scbtc^tc.

150.

©clbft crfinbctt tft fd^bti ； bod) gliidlid^ り on anbem ®cfttnbnc«
grol^fic^ erfannt unb gefd^a お t, nentift bu Im さ tDenigcr bcm?

161. Kn &ie funf^et^n ^reunbe in ^n^lanb.

SBeimar, ben 28. 3luguft 1831.

SBorte, bie ber ！ I)i ゆ ter fpric^t
Jreu in り eitnif ゆ eti Sqirfeti,
aSirfen gleic^, boc^ iDeife er id ゆ t,
Ob fie in bie geme tuirfen.

5 ®ritcn, l^abt [ie aufgefa^t :

り iit，ger ©inn, tm さ SE^un gegugelt ；
©tetig ©trebcn ol^ne §aft"
Unb jo mUt ゆ r ，さ benn beftegelt.

152. ^ar^erp^idtt.

2)cn 6. TldVi 1832.

®tt jeber tel^re わ or feiner SEpr^
Unb rein tft iebe さ ©tabtquarticr.
®n ieber iibc fein' Scttion,
@o toirb e さ gut tm State ftol^n.

NOTES

The time and place of the first publication of each of the poems in-
cluded in this collection is given in the Notes. In case a poem first
appeared elsewhere and was afterwards taken by Goethe into his col-
lected works, that fact is also mentioned. The following editions of
the works were issued under Goethe's direction :

@ti^riften, 1 787-1 790, in 8 volumes, Leipzig, Goschen. The poems
were in the last volume. Cited in the Notes as ©d^rtftctt, 1 789.

'jfltVLt ©d^riftcn, 1 792-1800, in 7 volumes, Berlin, Unger. The
poems were in the last volume. Cited as ^tut ©d^rtftcit, 1800.

SBcrfc, 1 806-1810, in 13 volumes, Tubingen, Cotta. The poems
were in the first volume. Cited as SBcrIc, 1806.

SBerfe, 1815-1819, in 20 volumes, Stuttgart and Tubingen, Cotta.
The poems were in the first two volumes. Cited as SBerfc, 1 81 5. The
editions following were all published by Cotta.

SBcrfe. ^oUflanbtge ^udgabe letter ^anh, 1 827-1 830, in 40 vol-
umes. The poems, including SS3efl'0jltUcl^er 3Ht)ait, were in the first
six volumes. Cited as SBerf り 1827.

Eckermann and Riemer assisted in the preparation of this ^U9gabe
letter ^anb ana became Goethe's literary executors, as it were, in the
preparation of the two editions following. As Goethe's instructions or
wishes must have guided in these editions, they are also cited in the
Notes :

9?ac^getaffene SBcrle, 1832- 1842, in 20 volumes. The poems were
in volumes 7 and 16. Cited as ^ad)Qt\a\\ent SBcrfc, 1833.

SBcrle, 1836, in 2 volumes. The poems were in the first volume.
Cited as SBerfe, 1836.

All references to Goethe's writings and letters, or quotations from
them, unless express statement is made to the contrary, are based on

the Weimar edition (®oe ゆ SBcrfc ^erau^gegeben im ^uftrage ber
©rog^ergogin ©op^ie わ on @ad^feit). The publication of this monu-
mental edition was begun in 1887 and is not yet completed.

173

174

GOETHES GEDICHTE

The list appended to Cotta editions of Goethe's works under the title
of (S^ronologte ber @ntfle^ung ©oct^cfd^er @ ゆ rif ten is cited in the Notes

merely as (^Qrottotogte. It is by no means always accurate, but gives,
nevertheless, useful hints concerning the time of origin of some of the
poems.

The literature about Goethe has grown to enormous proportions.
Much of it has been freely used in the preparation of these Notes. So
far as the results of such investigations have become the general prop-
erty of students of Goethe, no other acknowledgment of indebtedness
is made. In the case of more specific obligations, acknowledgment is
made at the proper place in the Notes. The following books have been
used more frequently than others and are cited in the Notes only by the
names of their authors : 一

@oct^c« ©cbid^tc, 级 usttm り t in d^ronotogifd^er gotgc, mit (Sinteitung
unb 5(nnicrlungcn k)on ？ ubtuig SBIumc, SBicn, 1892.

®oet^e« Itjxi^dft @ebid^te, crlfiutcrt k)on ^txmid^ ©linger, britte,
neubearbcitctc ^uflage, etf)gtg, 1896 ff. Also his edition of 2Bcfl«
5ftti(i^cr 2)it)an in @oe ゆ SBcrIc, 3Stertcr XeU, Berlin unb @tutt*
gart, without date. (Kurschner's series.)

@oet^ed ©cbid^tc, mit (Sinfcitung unb ？ Inmcrfungcn t)on @. k)on
？ ゆ er, 3 XdU, Berlin, 1 882-1 884. Also his edition of 2Bep-5|Hi(^er
2)it)aii in @oet^ed SBcrle, お ierter Xtii, 33crltn, without date. (Hem-
pePs edition.)

®oct^c8 ©cbid^tc, . , ♦ ^eraudgegeben unb mit ^nmerlungen beglettet
わ on gr. ©trc^llc, 3 SBanbc, SBerlin, j886 ff.

@oct^c« ©cbid^te, crlfiutcrt ... toon ^tinvid^ お t ゆ off, 2, ^uffage, 2
33(inbc, ©tuttgart, 1 869-1 870.

@oct^c« SBricfc an grau Don @tcin, ^eraudgegeben Don ^botf ©tpH
3tt)ettc berDott 卩 ftnbigte ^uffage bearbeitet bon 现 i ゆ elm gieU お, 2
SBfinbc, granffurt, 1 883-1885.

3n bet さ (Btammfmdi Hon f^rtebr^ ^Racimlltan SRootr さ

First appeared in S3crflncr ^oittagjeitung, 1865.

Goethe tells us in 2) ゆ tung unb SBal ^ゆ ett that he began writing in
verse at a very early age, and some of the poems preceding his depar-
ture from Frankfort to the University of Leipzig in the autumn of 1 765
have been preserved. As representative of these youthful productions,
the last stanza of a poem written by Goethe in the album of his friend
Moors is given here. It ended with a quotation from Horace, Risum
teneatis amici ！ and was signed, % SB* き e ゆり ber fc^dnen SBtffenftJ^afteil
Sicb^abcr, 28. Slugujl 1765.

2. m Sel^r 称

First appeared in SBcrfc, 1836.

The three years of his student life at Leipzig were of profound in-
fluence in Goethe's development. The direct influence of the university
was small, but the stimulus given him by his associates, and the social,
intellectual, and artistic life of the city were impulses to rapid growth,
probably unequalled in his later career.

In his letter to his sister, of May 11, 1767 (p. 88), he gives clear ex-
pression to his belief in his poetic mission. Nevertheless he was an
imitator of the German poets of the day in the form and contents of his
poetry. Little that he wrote came from his own experience. In the
choice and use of words and in the management of rime he showed,
however, astonishing ease and skill.

One of the Leipzig friends was Ernst Wolfgang Behrisch (1738-
1809), then acting as tutor to a young nobleman. His years and
greater experience in life gave him a sort of intellectual ascendancy
over Goethe, which was not always wholesome for the latter morally,
but was profitable to him in many other respects. At the suffpestion of
his friend, Goethe destroyed most of what he had previously written.
In part because of his relations with the young poet, who had lost favor
in certain quarters for reasons explained in 2)tc^tung unb 2Ba& ゆ eU,

176

176

GOETHES GEDICHTE.

[Sel. 2-4.

Behrisch came into disrepute with his employer and was compelled to
seek a new position in Dessau. This led Goethe to write and send to
him, in the autumn of 1 767, three odes, of which the second is given
here. The friendship of the two men continued till Behrisch's death.
The metrical structure of the odes shows clearly the influence of the
poet Klopstock, while their hysterical tone reveals Goethe's inexperience.

1. 5. The region about Leipzig is flat.

1. 9. ®tMtOti, breeding-place,

1. II. iOldtbeirl^iille, as if the fogs and the vapors from the swamps
acted as a covering to hide from view the harmful insects.

3* Der am— き ゆ

First appeared in l?ei))}iger ?icbcrbuc^, 1769； taken into 9^ac^ge-
laffenc SBerfc, 1833.

His letters of the time show that Goethe's literary work at Leipzig
was not inconsiderable in quantity. Mucn of it was destroyed and
very little found its way into his collected works. Nevertheless a part
appeared in print at this period. In the autumn of 1 769, but bearing
the date 1 770, appeared a collection of twenty poems without Goethe's
name and with the title, 9^cue Sicbcr in 3Rc(obicn flefe お t k)on 33ern^orb
^l^eobor ^reitfopf. This collection is commonly known as ？ ei))jiger
iBteberbud^. Breitkopf was a few months older than Goethe, who asso-
ciated much with members of the family, of which the grandfather was
the head of the famous publishing house of the same name.

The exact date of composition of 2)cr iD^ifattt^rop is unknown.
Goethe's letters while at Leipzig and his account in ゆ tung unb
SBal^ ゆ eit (SBcrfc, XXVII, 11 iff.) show that his state of mind in
those days was often such that the poem could easily have been taken
from his own experience.

1. 3. fommt ♦ ♦ ♦ 6ei, equals, matches,

4. 嶋ぽ unb Xtranm.

First appeared in eipjiger ！ iMeberbud^, 1769, with the title ！ Da9
@Iii(f; taken into SBerfe, 181 5, with the present title.

Some time in the year 1768 Goethe gave to Friederike Oeser, the

Sel. 4-6.]

NOTES.

177

daughter of the Leipzig artist who, as teacher and friend, so profoundly
influenced him for several years, a manuscript collection of ten poems,
all but one of which were subsequently printed in Seipgiger ！ Oieberbud^.
This manuscript seems to give the earliest form of the poems. In it

®tu(f unb Xvanm has the title, 2)tt8 ©liid, an Slnncttcn.

The maiden addressed was Kathchen Schonkopf, the daughter of a
wine-dealer at whose house Goethe dined during most of his stay in
Leipzig. He was on very intimate terms with the family, and fell in
love with the daughter, she returned his affection, but was often much
tormented by his whims and jealousy. Ihe whole affair is described in
SHd^tinig unb iBa^r^ett (SBcrle, XXVII, iioff.) and is enacted, as it
were, before our eyes, in Goethe's letters of the time. The letter of
April 26， 1 768, to Behrisch, makes evident the manner of the ending of
the relationship as lovers, apparently at Goethe's initiative, although he
had his seasons of regret and melancholy even after his return to
Frankfort, and was much distressed by the news of her engagement to
Dr. Kanne, to whom she was later married. 1 ne exact date of com-
position of the poem is unknown, but evidently falls in the days when
the more intimate relations with Kathchen had ended or were about to
end.

First appeared in 2ei や jig" !2ieberbud), 1769, with the title Un6ejltSn«
biglett; taken into @ ゆ riften, 1789, with changes and with present
title.

Likewise in the collection of tnederike Oeser, and evidently called
iorth by his love-affair with Kathchen Schonkopf.
1. 7. Herffi^Ietfft, drag out, waste,

6* 2)er «6f ま，

First appeared in @ ゆ rif ten, 1 789.

There is no positive proof of an earlier origin than that indicated by
the time of its first publication, although it is mentioned in (Sl^ronologte
as belonging to 1770-71. Nevertheless the poem is now commonly as-
signed to the year 1770, because of the name Franzchen in the fourth
stanza, and on the ground of Goethe's letter from Saarbriicken on June

178

GOETHES GEDICHTE

[Sel. 6

27, 1770, in which occur the words ： @agen @ic nteinent grSi^j^m,
bag idj nod^ immer ゆ r bin. l^abe jtc Die【 Ueb, unb idf firgertc mit^
oft, bag ftc mid^ fo tvenig gcnicrtc; man tDill gebunben fcin, tuenn man

Ue6t. The Franrchen to whom the message was sent was Franziska
Crespel, a mend of Goethe's sister. In the year and a half of Goethe's
illness and convalescence at Frankfort, after his return from Leipzig, it is
possible that an intimate but transitory love relation with Franziska
sprang up, although it can not be proved. If we adopt this supposition,
the poem was called forth by Goethe's departure in March to Strassburg
to resume his studies.

1. 13. ^JSil^t^tttf not to be translated as a diminutive. The German
diminutive is frequently used sportively, endearingly, or in other ways
which make a literal translation absurd. If the poem was really ad-
dressed to Franziska Crespel, the diminutive was probably caused here
by the rime.

7» tBUnommeit unb Sif^ieb*

First appeared in the periodical March, 1775； taken into

©d^rif ten, 1 789, with changes.

This poem shows admirably the wonderful change that had taken
place in Goethe's lyrics since the days at Leipzig. The influences brought
to bear upon him at Strassburg were many and varied. Chief among
them were the scenery and the life of Alsace, the intercourse with Her-
der, the consequent better acquaintance with English literature and the
German SSotf^lleb, his love for Friederike Brion. At Leipzig, as we
have already seen, he was not free from subserviency to the lyric fashion
of the times, he tried not infrequently to portray feelings which he had
never experienced, he had not yet really learned to see nature. At
Strassburg he mastered the art of making his lyrics the outpourings of
his own experiences, the confessions of his inner life.

Not the least among the strong influences of those months was the
poet's glowing affection for Friederike Brion. His first visit to her home
at Sesenheim was in October, 1770. He wrote to her on October 15,
just after his return to Strassburg. A mutual affection seems to have
sprung up at once. Goethe made two long visits at Sesenheim at Easter
and Whitsuntide of 1 771, as we know by his letters to Salzmann at that
time, and may have made several briefer ones previously.

Sel. 7.]

NOTES.

179

^iQfomtnen unb ^bfd^teb was doubtless addressed to Friederike, but
the exact date of its composition has been much in dispute, as Goethe's
highly idealized account of the whole Sesenheim episode in 2) ゆ tung
unb SQSal^rl^eit seems to make the chronology of the period hopelessly
confused, and there is nothing in the poem to indicate the season of the
year. The lovers have, it is true, reached the stage of tears, kisses, and
mutual understanding of their love, but that might have come about in
a few weeks or days. There is therefore no inherent improbability in
any date after the first meeting in October.

However, as Goethe seems to have ^iUfommen unb ^bf(^ieb in mind
in describing in the eleventh book of ！ Did^tung unb SBa り ゆ eU [SBcrfe,
XXVIII, lo) a visit to Sesenheim at the beginning of one of the uni-
versity vacations, it is probable that the poem originated then. The de-
tails of the description apply to a time of year suitable to outdoor life,
that is, to Easter or Whitsuntide. If poem and visit were thus associat-
ed, the date of both must have been the beginning of the Easter vaca-
tion, as the poem gives no hint of waning affection, and Goethe's letters
to Salzmann show that he had begun at Whitsuntide to feel the uncer-
tainties of his position and to question the wisdom of his love for Friede-
rike. In 1771 Easter Sunday came on March 31. This may be re-
garded as fixing approximately the date of the poem.

"We may imagine Goethe at Strassburg when his heart bade him so
imperiously to undertake in hot haste the journey to Sesenheim, some
twenty-five miles distant, as the afternoon was already nearing its close.
In the latter part of the first stanza and through the whole of the second
he contrasts graphically the imagined terrors of the night with the con-
fidence 01 his own love-filled heart. The third stanza describes the meet-
ing of the lovers, and the fourth their parting on the morning of the
next day. In the first publication in the periodical 3ri8 the last stanza
read:

2)er ^bjc^ieb, me bcbrangt, toxe trftbe!
^uS beinen f&lxden bein や は 3,
3n bcincn l^ftffen meld^e fiiebe!
D mettle 2Bonne, nteld^er ©d^mera!
2)u gingft; id^ jiunb unb fal^ aur (Srben
Unb fa^ bir nac^ mit najfem SBUd:
Unb bod^; roeii) ©liitf geliebt su tverben!
Unb iiehen, (A$5tter, iveld^ ein

180

GOETHES GEDICHTE.

[Sel. 7-9.

Here is not a word about departure on the next morning. The lover,
who is about to leave, stands following with his eyes his sweetheart who
is presumably going into the house after Didding him good-bye. This
is probably what actually took place, but the later changes make the at-
uation more effective and more natural.

8. 3Rit einem gemalten お onb*

First appeared in the periodical January, 1775； taken into
@(^riften, 1789.

In 2)i(^tung unb 2Ba り ゆ eit (SBerIc, XXVIII, 32) Goethe tells of

sending to t nederike such a ribbon decorated by himself and accom-
panied by a poem. This poem is supposed to be the one to which be
thus refers. It so, it was written in the spring of 1771. Whatever the
time of their origin may be, the lines certainly give graceful expression
to feelings such as he had at Sesenheim. As first published, there was
an addiiional stanza between the present third and fourth, and the first
two lines of the last stanza read :

tRei が mir bcine liebc ^anb.

1. 12. gettUttg, instead of genug.

1. 14. ftCt, voluntarily^ of your own accord*

First appeared in the periodical 3n8, January, 1775, with the title
aWaifcfl; taken into ©d^riften, 1789.

Assigned conjecturally to the spring of 1771, as Goethe, in writing to
J. G. Jacobi, the editor of 3ri^, on December 1， 1774, speaks of send-
ing to him some poems of earlier origin. As iU^ailieb was published in
the next issue, it is supposed to be one of the poems meant, although it
may have been written later. Goethe spent at least the latter part of
May, 1 771, at Sesenheim, and the tone of the poem fits admirably into
his life there.

1. 13. £ie6e, the abstract, not "the loved one ノ，

1. ig. S3IiltenbaitMlfr poetic for the fragrance of the flowers.

Sel. 9, 10.]

NOTES.

181

1. 21. 现 fibd^en, for this sudden transition in thought to his sweet-
heart notice also the close of grU^jeitiger ^rii^Ung (Sel. 89).

10. (BtxtU ber f^ttc^ さ, fo gilt ber S3a(0.

First appeared in ©d^riftcn, 1 789.

Commonly assigned to the spring of 1771, although possibly of later
origin. In ！ S)id^tung unb 2Ba も ゆ ett (SBcrfe, XXVIII, 14, 21) Goethe
speaks of the outdoor games played at Sesenheim, but such amusements
were not unknown in the circle of his mends after his return to Frank-
fort. Eckermann says (®ef^)rac^c, III, 172) ： bad^te an bic gtii(f«
lic^e 3cit be9 tjorigen 3cil^ ゆ unberts, in weldjt ®oct^c« 3ugcnb fiel; c«
trat tnir bte ©ommerTuft t)on ©efcn^cim t)or Me @cele, unb xd^ mn*
nertc t^n an bie ^crfc ：

9la(^ SRittage fa^en toix
3u 零 3 9$o(I tm ^W^n.

ゆ," fcufgtc ゆ e, „ba« njorcn frcilid^ fd^one 3citcn/' This

seems to be a tacit acknowledgment that the poem onginated at Sesen-
heim.

In a letter of May 4, 1807, to his friend Zelter, who set to music so
many of his poems, Goethe described the game as follows : TldXl

nimmt dnen biinncn ©pan, obcr aud^ einen SBad^^flocf, giinbet tl^n an
unb Idgt i^n cine Seitfang Brcnncn; benn blafl man bic glamntc njeg,
bag bic ^oifit bletbt; bcnn fagt man fo eitig a(9 ntogUd^ baS @priic^cl»
d^en:

©tirbt ber Sfu も fo gi(t bcr 95alfl,

Sebt cr lang, fo toixh ex alt,

Cebt er, fo lebt er,

Stirbt ex, fo jlirbt ex.

SJlan begrabt i^n ntc^t mtt ber る aut,

^aS gereid^t il^m jur ほ も re.

9hm giebt man bic glimmcnbc が gefd^minb bent ^ad^hav in bte
©anb, ber ba«fclbtgc き fe 称 it njtcbcrl^olcn mug; unb tms ge^t fo lange
fort, hi9 bic ^ol^Ie bci cinem auSUfd^t, ber bcnn cin ^fanb geben mug.

1. 21. ^atff^te ^Uf aads the meaning away, repeatedly.

182

GOETHES GEDICHTE.

[Sel. 11, 12.

11. Slinbe SUM.

First appeared in ©d^riften, 1789.

Commonly assigned to the year 1771 but with less of evidence than
in the case of the two poems preceding. The game is blindman's buff.

1. 2. toanbelt ♦ ♦ ♦ {td^, changes. Therese caught him when blind-
folded. When her eyes were unbandaged, she was vexed to discover
whom she had caught. 、

1. 17. Xtftbctl, used here in double sense; gloom,

12. る eibenrS さ leitt*

As given here ^etbenro^Iein first appeared in Goethe's @ ゆ rifteil,
1789. i\Dout his claim to the authorship of the present version there
can therefore be no doubt, but much controversy has arisen concerning
an earlier version, and no generally accepted result has yet been reached.

In 1773 Herder published in his S5on bcutfd^er %X\ unb ^Uttfl a poem
with the title gabetUeb ゆ en, which is evidently only another version of
^etbcnrb^lem, although differing from it in many details. For example,
the last stanza runs :

3ebo4i ber tDitbe llnabe bra も

S)a§ Sd&SIdn, u. f. »
2)a§ 9l5§lcin iDCl^rte {t4i unb fia め，
^ttber cr toerga お barnac^
35cim @enu^ baS Setben ！

9l5§Icin, u. f. tD.

With slight changes this version was reprinted in 1779 in Herder's
お Ol お Ueber. Herder implies in 1774 and says expressly in 1779 that the
poem was orally transmitted to him. It was not one of the S^olf^Iiebct
sent by Goethe to Herder after his return to Frankfort from Strassburg,
and the most reasonable conclusion therefore is that Goethe was the
author of the version of 1773; further, either that Herder was mystify-
ing the public or had himself forgotten the origin of the poem, or that
Goethe recited it to Herder at Strassburg and that the latter took it for
a SBolf^Ucb. The last of these suppositions is the most probable. In
his younger days Goethe was rather fond of mystifying his friends and
the public.

Sel. 12-14.]

NOTES.

183

^eibenr59(ein is apparently based upon a poem in a collection pub-
lished by Paul von der Aelst in the year 1602. Herder knew the
collection and probably Goethe also, although he may have become
acquainted with the older poem in some other way.

13, 胸 ennerKeb*

First appeared in von Einsiedel，s play ^bolar unb る Uaria, 1784;
taken into SBerle, 1815.

The poem originated as part of the first version of Goethe's drama 3)ie
@ef ゆ id^te ©ottfrtebenS tjoit ^erlic^ingen and belongs therefore to the
latter part of 1771. This first version of the drama was not published
until after Goethe's death. In the revision, which appeared in 1773,
the poem was omitted.

As first written, the poem was to be sung by an old gypsy woman, the
other women joining in the chorus. The verb of the first stanza was
1^0 ビ, not り 5rte, and therefore referred to the night on which the song
was sung. Then the gypsy proceeded, as if the stormy night had re-
minded her of a former event, with the words, Tltin Tlawn, hex fd^og
cin' お， am 3aint, and told of the visit of the seven women to her to
take vengeance for the deed of her husband. As it now stands, the
whole refers solely to the man. The poem has both gained and lost by
the changes. The first stanza now appears to have no sort of con-
nection with the following; on the other hand, the remaining stanzas
are certainly benefitted by the alterations. As were-wolves (human
beings in the form of wolves) the gypsy witches come to take revenge,
but are compelled to flee at the calling of their names.

1. I. 9^e]6e(gerie{e(, drizzling mist. (Bowring.)

1. 25. liefen nnb l^eutten bnium, equivalent to liefcn l^eulenb botjon.

14. %tx SBattbrer*

First published in ©ottinger iD'hifenalmauac^ auf bas 3a^r 1774;
taken into @ ゆ riften, 1789, with changes.

The poem was in existence in April, 1772, being mentioned in a
letter to Herder by Caroline Flachsland, later Herder's wife. It be-
longs therefore to Frankfort and apparently to the early months of

184

GOETHES GEDICHTE.

[Sel. U.

1772. As Goethe sent Caroline a copy in May from Wetzlar, the finish-
ing touches may have been added at the latter place. The experiences
upon which the poem is based seem to go back to the time at Strass-
burg, called forth by the sight of old Roman remains in Alsace ゆ ゆ
tung Ullb SBal^ ゆ eit, SBerfe, XXVII, 339). But it reflects something
more than Goethe's personal experiences. It reveals him as influenced
by a wide-spread movement of the times; we see in it the enthusiastic
admirer of Goldsmith and of the poets of Greece and Rome. (See
also notes to Sel. 60.)

The SBonbrcr is one of the most finished and effective of all Goethe's
achievements. Although the poem was written before he ever saw
Italy, the scene must be conceived as Italian. The wanderer, who is
at least an enthusiastic lover of art, if not an artist, comes as evening
draws near, to the spot where the young mother and the babe are, begs
for permission to rest there for a time, and doubtless intends to ask
presently about the road to his destination. All the rest is made clear
in the poem, as it proceeds step by step.

1. 2. faugenbett, instead of faugenben.

1. 8. In her simplicity the women takes him for some sort of trades-
man.

1. 16. iiiffi, as first printed, fd^miil. The latter word was intended
to justify his request for a annk and was for that reason quite natural.
Goethe's later experience with the climate of Italy doubtless led to the
change to ffl りし

1. 1 8. blTiItt さ, relative, with the same meaning as tvorait^. Notice
also brttt, 1. 23.

1. 32. ]6i(bettber &tX)i, fashioning spirit (Bo wring) .

1. 35. ^ttffi^rtft, that is, to some divinity. The next three lines
were originally :

2)cr SBenuS 一 unb il^r iibriflen
©cib t)"tof め en,
SBegoetuanbelt, tl^r ©efpielen.

1. 39. 现 eift はさ, the one who made the inscription or had it made.
1. 57. @ettitt さ, the spirit of art, or possibly the soul of the architect
of the ruined temple. Bo wring translates :

" Thou dost hover

O'er thy grave, all glowinfir, Genius."

Sel. 14^16.]

NOTES.

185

1. 67. A pair of columns and one isolated column alone are left
standing.

1. 87. ほさ tft fiil^I, originally, る ier i(l fillet, contrasting with the heat
lower down.

1. 90. Addressed to the child.

1. 107. ©efegtte ，さ @ott* The mother hears the wanderer's good
wishes for the child and therefore utters these words; say, God grant it
1. 1 10. He declines the proffered bread.

1. 148. G^tttttfl, Goethe gives to the poem a definite place by the
mention of this name. Cumse was a very old し reek settlement in Italy,
the ruins of which still exist. In 1831, Mendelssohn, who did not
know of the early origin of the poem, believed that he had found in
Italy the place which Goethe meant. This led Goethe to say to Zelter

in his letter of May 7, 183 1 ： 2)a« ifl ber SSortell be9 SHd^terS, bag er
ba9 t)orau« a^nt unb njcrt り fitt, nmS ber bic SSirflid^feit ©ud^enbc,
iDcnu er t% im 2)ofein finbct unb crfcnnct, bo^^elt lieBcn unb l^oc^Ud^
boran fld^ crfrcuen mug.

1. 163. る fttte, 3m ©d^tuffc blc ^ollcnbung bed funflkrtjd^cn 2)a-
fcin« burd^ eine ^au^Ud^fett, , . , cntfprcd^cnb bent ^flttcnibcal ber

3cit. (von Loeper.)

15, $at aKe さ feme 3eU*

First ap|)eared in HirzePs お riefe t)on ©octl^c an ]^ett)ettfc^e grcunbe,
1867, with the exception of the sixth line.

These lines formed a part of Goethe's Concerto DramcUico which
goes back at least to March, 1773, although never printed till 1869.
On a rainy day of the Rhine journey of 1774 (see @ci(le§*@ru6, Sel. 19),
Goethe quoted them to Lavater, in whose diary they were preserved.
The whole is probably based on some folk-rime. For the general theme
see Ecclesiastes 111， 1-8. It may be said in passing that Goethe was
exceedingly well versed in the Bible, as numberless passages in his
writings show.

16» ^tlettattt unb ^ttiler.

First appeared in 2)cr bcutfc^e, fonft SSotlb^berfcr お Ote, October,
1773, with the title S)a さ ゆ Iti さ； taken into SBcrfc, 1815, with slight
changes and with present title.

186

GOETHES GEDICHTE. [Sel. 16-18.

The writing of the lines possibly preceded their publication by several
months. Goethe was in those days not free from sensitiveness to ad-
verse criticism. In his ^bler Utlb £aube and in 9Jeccnfcnt, which
belong to about the same period as ！ S)i(ettant unb ^ritifcr, he also
shows bitterness of feeling towards his critics. It has been sugp^ested
that it is not improbable that Herder's sharp arraignment of @5 お in its
first form (see Goethe's letter of July, 1772), was the chief source of
Goethe's irritation at this time. The present title does not give accur-
ately the idea of the contents of the poem.

1. 15. &tf^t ♦ ♦ ♦ geratett, and $>tt . . . uid^t (L 20), and the word
^iff^thntt (1. 21) are spoken by the fox. ®el)t tOO^I an, does toler-
ably well.

1. 17. geratett, turn out

1. 20. fd^toinget md^t, fe^tt ber ©d^toung. (Sander's SBortcrbud^.)

First appeared in the periodical 3ri^, March, 1775, as part of @rU)tn
unb (Stmire, etn ©d^aufpiel mit @efang ； taken as a separate poem into
S^eiic (j^riftcn, 180a

The poem was known to the Jacob は early in 1774 (or possibly in
1773, the year being in dispute. See Bergk，s Slc^t Sicber わ on @oe ゆ e,
p. 15). In the absence of positive information concerning the time of
the first work on @rlt)in unb ほ lltlire, Bergk，s suggestion of an in-
dependent origin of the poem has some justification. Goethe certainly
did on various occasions incorporate older materials into later work,
^etbenrbdlem and ！ Da 9 ^eUd^en have a striking resemblance to each
other in spite of the contrasted demeanor of rose and violet. The
theme of ！ Da9 ^eild^en is the utter self-abnegation of love.

1. 12. matt is here factitive, pressed 一 till I am, etc.

18. '$>er ^i^ntg in X^ule*

First appeared in von Seckendorff's お ol お- unb anbere ？ icber, 1782,
then in revised form in gaufi fragment, 1 789 ； taken as a separate poem
into SfltVLt @c^riftcn, 1800.

A copy by Herder gives older readings than those of the first publi-

Sel. 18, 19.]

NOTES.

187

cation. The poem was recited by Goethe on the Rhine journey in the
summer of 1774, and doubtless originated at the time of the work on
the earliest scenes of gauji in 1773 or 1774. The theme is of love en-
during till death and showing itself in the treasuring above all posses-
sions of the last gift of the dying sweetheart.

1. X. Xl)tt(e, the most northern part of Europe according to the
ancients. Here merely a fabulous and distant land.

1. 5. ほさ gtng t^m ttid^ お haxfihtt, he valued it more than anything
else,

1. 12. Jttgietfi^, lit" "at the same time as," or " together with" (his
other possessions) ； say, bui.

19. @eifte さ- @rtt6*

First appeared in @d^riften, 1789.

As is related in the 14th book of ！ S)ic^tung unb SBa り ゆ eit, the Swiss
clergyman and physiognomist Lavater and the pedagogical reformer
Basedow visited Goethe, a few days apart, at Frankfort, in the summer
of 1774. A little later the three came together at Ems, and from there
presently made a trip down the Lahn and Rhine to Cologne and Diis-
seldorf, where Goethe met the brothers Jacobi. The journey was full
of intellectual stimulus for the young poet.

In connection with the experiences of this summer Goethe says

(SBcrfe, XXVIII, 284) ： ほ in ®efut|l aber, ba« bei mtr gen^altig fiber*
l^anb nal^m unb ftd^ ntd^t njunberfam genug iiugcrn fonnte, nmr bte
(Smpftnbung bcr SScrgongcnl^ett unb ©egcnnjart in etnS: cine Slitf ゆ au-
mtg, bic etnjas ®cf^)cn(lcrma6i0c« in bic ©egenmart brac^te. @ic i(l in
Diclen meiner grogeren unb Hctnern ？ (rbcitcn au^gebriicft unb xoxxXi im
^ebtd^t immer mol^It^atig. This poem illustrates what Goethe meant
by the lines just quoted. He dictated it to Lavater on July 18, as their
boat was going down the Lahn. It was called forth by the sight of the
ruins of castle Lahneck. We must imagine the spirit of the former
owner of the castle (bc^ ^elben eblcr @ei(l), standing on the tower,
looking at the snip passing below and wishing it a successful journey
(lOO^i gU fal^rcn). He too was once full of the vigor of life and en-
joyed its pleasures.

1. 5. Setme, instead of @c^ne.

188

GOETHES GEDICHTE.

[Sel. 19-21.

1. lo. t^tthtfinV, say, wasted. Contrasted with the tumultuousness
of the other half of his life (1. 9).

1. 12. immer %% on and on. See Sel. lo, note to 1. 21.

First appeared in SBerfe, 1815.

Like @eifk8-®ru6 this poem originated in July 18, 1774, but later
in the day. Goethe tells of it in S)i ゆ tung unb SBa り ゆ eit(2Serfe, XXVIII,

280) ： S)a« 3lnbenfeu an einen tDunbertid^en 2Birt«tifd^ in ^oblenj
l^abe i ゆ in ^nuttc(t)erfcn aufbciwa^rt. . , , fafi gmifc^cn ？ at^ater unb
SafeboH) ； bcr erflc bc(e]^rtc eincn ？ onbgcipUd^en fiber bie @e^cimnif[e
bcr Offenbarung 3o り aitni さ, unb bcr anbere bentii^te fid^ t^ergebend,
einem l^artnarfigcn 2^angmciflcr gu Benjcifcn, bag bie ！ Eaufe ein tier-
alteter unb filr unfcrc 3«itcn gar nic^t bered^netcr ©ebraud^ fei. Unb
njic njir nun filrber nac^ f oin gogen, fd^vicb id^ in Irgcnb ctn Alburn:
Unb, toic nad^ ほ mmaus, toeitcr ging'8, etc.

1. 3. る elf は, refers to Lavater, who was at that time vicar or diaco-
nus at the SBaifenl^au 衡ゅ e in Zurich.

1. 4. etnen fd^ttmr き ett ®<ml, see Revelations vi, 5.
1. 6. auf • ♦ ♦ fh^id^, went straight towards,

1. lo. Xl^ertaf i^Md^f eu, theHac was a medicine highly esteemed for
many centuries and almost down to our own times. It was an electuary
composed of more than three score ingredients and supposed to be an
antidote for the poison of animals.

1. 12. ^]6lt さ ftaM, ^erUnt^Dt and (Biegel (1.9), see such passages
in Revelations as xxi, 16, 21 and v, 2.

1. 16. お ate ち Basedow was almost fifty-one years of age at the time
of this journey. He was fond of discoursing against infant baptism.

1. 27. $a"ett, instead of ^al^n.

1. 28. さ mmim さ, see St. Luke xxiv, 13.

1. 29. @eifN ttttb fjfeuerfd^rttten, the spirit and fire are mentioned
together here, as they are in the New Testament.

21. IBag regnett, toettn e さ regnen tniK*

First appeared in Hirzel's Srtcfe t)on ©oetl^e an l^ett^ettfd^e greunbe,
1867.

Sel. 21, 22.]

NOTES.

189

These lines were repeated to Lavater on July 20, 1774, being called
forth by the rain and mist which interfered with the pleasure of that day's
journey on the Rhine. They are doubtless only Goethe's version of
some folk-rime.

First appeared in ©d^riftcn, 1789.

A copy of this poem, in Goethe's handwriting, is entitled Sin ^d^toa*

gcr Cronos, in bcr ^ofld^atfe ben lOtcn Dftober 1774. The poet

Klopstock arrived at Frankfort about the beginning of October on a
visit to Goethe, and the latter accompanied his guest a few days later
at least part of the way to Karlsruhe. This poem was probably written
after Goethe had separated from Klopstock and was returning to
Frankfort alone. It represents life as a journey in a stage-coach with
Chronos, Time, as coachman. @ ゆ ttjager is a humorous term for
coachman. This, as well as other odes, gives evidence of Goethe's
great admiration for Pindar in these years.
1. I. ftmbe, instead of fpute.

1. 4. 50gett, here transitive in the sense of cause {oy delay).

Loathsome dizziness ever,

When thou delayest, assails me. (Bowring.)

1. 6. は ゆ, even though,

1. g. In this stanza the striving and the hope of the ascent are men-
tioned; in the next the traveler is on life's bights and has the wide
outlook.

1. 18. al^ttbelloK, here the same in meaning as a]^nung«t)Ott, full of
presentiments of, divining.

1. ig. UiCtbad^, probably the projecting upper story of the inn
wmch is at one side of the road. The maiden is standing at the door
of the inn.

1. 21. gfrifd^ttng, instead of grfrifd^ung.

1. 22. be さ お en さ depends upon 现 (f, and auf ber ©c^toettc
modifies bc3 腿 bd^eilg,

1. 23. \cAt 9t(^, apparently he says these words to himself and then
addresses the maiden with, 3Kir ail ゆ, etc.

1. 27. bie @Ottne finft ！ is parenthetical and @4， fte {tttlt

190

GOETHES GEDICHTE, [Sel. 22, 23.

modifies 1. 26. The stanza expresses the wish that death may come

before the infirmities of old age lay hold of him.

1. 3a. Xttttthtett modifies mtf^, but as it precedes, we expect rather

the uninflected form trunlen.

1. 33. 9ie 玲 Ittifi^, here in the sense of bring me quickly,

1. 36. $3tte, that is, Hades, the abode of the departed, where Orcus,

god of the lower world, reigns.

23* Settbffi^ret^em

First appeared in 9^cuer お erfu ゆ fiber Me ©d^aufpiethinfl. 9u9 bcm
gratijofifd^cn. 9Wit cincm ^nl^ang au9 @oct^c« お rUftafd^e, 1776；

taken into SBcrfe, 1815.

This doggerel unites two poetical letters to Merck. Lines i 一 12 are
the first portion of a letter of December 5, 1774 (the concluding portion
of which was made up of the poem now entitled 货 fiitfUerS SlbcitbUcb),
lines 13-42 are the whole of the letter of December 4, except the
opening words, ？ tcber SBrubcr. The difference in ongin is shown in
the different metrical structure of the two parts. Although they have
thus been put together as one poem, there is no very evident connection
in meaning between the two portions.

1. I. 9)leitt ItKe さ ほ imngeHttm referred in the first place to the con-
tents of the poem ^un{iler9 ^benblieb, the burden of which is yearning
to comprehend nature and to commune with her. It should not be
forgotten that Goethe believed for many years that his real vocation
was possibly that of the painter. Even after his experiences in Italy
had convinced him of his mistake, he retained a warm interest in mat-
ters of art and made them his lifelong study.

1. 5. The gold and wine (which are ber Sd)(l^e %X^X of 1. 9) were
to give warmth to the picture. At best this stanza remains
rather unintelligible, as is shown by the widely differing opinions of
commentators concerning its meaning. But it should be remembered
that the whole was only a hasty letter.

1. 10. fd^ttiftrmett, fd^njdrmenb ftd^ cinbilbcn. (Duntzer.)

1. 13. This second part is a clear exposition of Goethe's artistic doc-
trine at that time, although his "gospel ，， of later years was far different.
The third stanza deals with the benefits of creative activity as contrasted

Sel. 23, 24.]

NOTES.

191

with criticism (rid^tet) ； the fourth has to do with communion with na-
ture; and the fifth finds all our joys in ourselves and our surroundings
and in the knowledge of nature's truths.

1. 17. anhltdtttf show the teeth at, grin angrily at (like a dog).
The four lines 17-20 are symbolical of the critic face to face with the
work of others ((ang ©cfottneS unb ®cbrotne«).

1. 22. tagldttt^tntS^tg, like a day-laborer, that is, vigorously. The
lines 21-24 set forth in figure the direct and fresh enjoyment of nature.

1. 32. Banks and Solander accompanied Cook on his voyage around
the world and made botanical collections.

1. 36. The spirit of Achilles spoke to Odysseus (Odyssey XI, 488-
491, Palmer's translation) :

" Mock not at death, glorious Odysseus. Better to be the hire-
ling of a stranger, and serve a man of mean estate whose living is but
small, than be the ruler over all these dead and gone."

1. 39. SRagtta ©rScta, southern Italy, so called because of the many
Greek settlements there.

24. $romet4eui$.

First appeared in F. H. Jacobi's fiber Me ？ el^rc be8 ©pinoga in SBric-
fen an ^crrn 9Jiofe« aKenbelSfo&it, 1785； taken into @c^riften, 1789.

The years after the return from Strassburg up to the departure to
Weimar were the most tumultuous in Goethe's life. It fairly seethed
within him. This is evidenced not only by the utterances of himself
and his acquaintances and by his letters of the period, but also by the
great themes which he began to treat and either left unfinished or com-
pleted in later years. One of these subjects was Prometheus. In
1773 he had completed two acts of the drama of this title. This frag-
ment was not published until 1830 in the so-called ^u^gabe letter
^anb; where the ode appears as the beginning and fragment of the
third act. It had, however, no real connection with the drama either
in origin or in contents. The manuscript of 1773 ended with the second
act of the drama, and the ode was of later origin. It belongs to the
early part of 1775 or more probably to the latter part of 1774. It was
possibly included in the letter to Merck of December 4, 1774. The re-
lation of the poem to Goethe's own life is set forth in the fifteenth book
of ！ S)td^tung unb SBa^r^ctt (SBcrfc XXVIII, sioff.).

192

GOETHES GEDICHTE. [Sel. 24, 25.

1. 6. The thunderbolts of Zeus can not really injure the earth, the
abode of Prometheus.

I. lo. (Bint, meaning メ" - which Prometheus had stolen from heaven
and brought down to men, for which deed he was afterwards punished
by the gods.

II. 14-20. These lines express contemptuously the thought that the
gods feed on the sacrifices offered by men, and without them would
suffer want.

I. 22. too att さ nod^ eitt, neither the way in nor out, that is, was igno-
rant of life.

II. 28-36. He had struggled alone against the Titans, had rescued
himself from the danger or slavery to them, and then, in his foolish be-
lief that the gods had helped, had sent glowing thanks for his rescue up
to the sleeping Zeus above.

11. 42-45. Time and fate, to which the gods are also subject, had
fashioned him to a man.

1. 50. お KUentrattme, hopeful dreams, like unopened buds.

25» 9}eite Siebe, itette さ SeBen.

First appeared in the periodical 3rU, March, 1775； taken into
©d^riftcii; 1789.

After the stormy, though evanescent, passion for Friederike Brion and
the milder affection for Lotte Buff, Goethe seems to have passed through
a number of months in which his heart was comparatively untouched by
feminine charms. Even the episode with Maximiliane La Roche can
not have greatly moved him. But the close of 1774 or the early weeks
of 1775 marked the beginning of a new and profound passion. At that
time a friend took him to the house of the widowed mother of Lili
Schonemaiin. Goethe tells of the visit in the sixteenth book of ！
tung unb SSal^r&eit (p. 22 ff.), and the remainder of the autobiography
is chiefly filled with the recital of the love-affair of himself and Lili.
The hold which the beauty, grace, and social gifts of the young girl had
upon Goethe must have been extraordinary. The fire of the passion
still glows in the recital in ！ Did^tung unb SBal^ ゆ eit, although about
half a century had passed between the days at Frankfort and the writ-
ing of the latter part of the autobiography.

Sel. 25-27.]

NOTES.

193

Goethe's love-affairs were wont to run a regular course : first, a season
of fervent affection, naturally varying in degree on his part; then a
cooling of his ardor and a breaking of intimate relations; thirdly, a
season of grief for the loss of the loved one whom he had himself vol-
untarily given up ； and lastly, the return of peace to his perturbed spi-
rit. Such was the course of his relations with Kathchen Schonkopf,
with Friederike Brion, and with Lili. In the latter case, however, there
entered from the first a struggle against his passion for her. The con-
siderations of prudence or wisdom or dislike of the marriage tie, which
usually exerted themselves only after the first ardor of his passion had
passed, came here into play at once, and made his love for Lili one long
struggle with himself, intensined, no doubt, by the knowledge that
neither his family nor hers really approved the union of the young
people. •

The poem was probably written early in 1775 and shows vividly the
mental struggles mentioned above. The same situation is shown hu-
morously in ？ ilig ^or!, Sel. 30.

1. I. Qtbtn, say, mean.

1. 6. matum, relative, depending in sense on aUed.

26. 3^ beu IBeiben be さ iuttgen 9Ber ゆ er さ ♦

First appeared in the second edition of Goethe's !5)ic Scibett bed jun*
gen SBer ゆ erS, 1775； taken into SBcrfc, 1836.

These lines were written for the second edition of SBer ゆ er. The
first stanza did duty as a poetical preface to the first part of the romance,
the second stanza serving the same office for the second part. Each, in
a way, pointed the moral of the part to which it was prefixed. The first
two lines exhibit Werther as the ideal lover, the next two bewail the
pain caused him by his hopeless love, while the last stanza warns against
his weakness.

27, $(ttf bem <Bee,

First appeared in ©d^riftcn, 1789.

In May, 1775, Goethe began that journey to Switzerland which was,
in fact, a flight from Lili in the endeavor to free himself from the at-
tractions of her charms. ？ (uf bent @ce is an outcome of this journey,

194

GOETHES GEDICHTE. [Sel. 27-29.

having been written on the morning of June 15 on Lake Zurich. The
rough draft is still preserved in Goethe's diary (Xagebit^er, I, 2).

1. 6. The waves move the boat up and down, keeping time with the
beat of the oars.

1. 7. The mountains about Lake Zurich seem at places, as one ap-
proaches them on the water, to be about to block the course of the boat.
Hence this graphic use of begegneit.

11. 9-12. These lines are inspired by the thought of Lili.

1. 14. ®tttnt, probably referring to the many reflections of the sun
in the dancing waves.

1. 15. ttittfett, bold poetic use of the word in the sense of obscure
the view of.

28. お 细 S3erge.

First appeared in ©t^riftetl, 1789.

Written on the same day as the preceding poem and following it im-
mediately in Goethe's diary of the time.
1. 2.- お Krf, with the force of 3lnbli(f.

29. SnubCi^Ueb.

First appeared February, 1 776, in Wieland's periodical, 3)cr teutft^
SWcrfur, with the title, 55unbc«Ucb, cincm jungen $aare gefungen Don
SJicrcn; taken into ©d^riftcit, 1789, with many changes.

The flight to Switzerland having failed of its purpose, Goethe returned
to Frankfort to struggle again with his passion for Lili. The conflict
lasted some three months longer and ended with the cessation of all re-
lations as lovers in the autumn of 1775. Meanwhile Goethe had, how-
ever, passed many happy and unhappy hours with JJli and in the circle
of her friends, particularly at Offenbach, which is not far from Frank-
fort. Among the friends at Offenbach was Pastor Ewald, whose mar-
riage took place on September 10, and whose birthday came on Septem-
ber 16. For one or other of these events Goethe wrote iBunbe^Iieb. In
！ JHc^tung unb SSal^rl^elt he states that the birthday called it forth; com-
mentators have mostly agreed in thinKing that the wedding was the
more probable cause.

As revised for the edition of 1 789, it was in many respects a new

Sel. 29, 30.]

NOTES.

195

poem. The former concluding stanza was entirely omitted, and the
whole was so completely changed that its original purpose as wedding
or birthday song was no longer evident. The song had become gen-
eral in its application, fit to be sung at the meetings of any fraternity or
society. As such its use was widespread in Germany, even in Goethe's
lifetime, and as such it must now be interpreted. Goethe's procedure
here was the same as with the revision of others of his poems which
had their origin in special occurrences. The changes made them gen-
eral and typical instead of local and individual. They were made fit
for all times and all men.

1. 7. ttntUttU The received punctuation of the lines requires er«
neucrt to be the imperative, addressed to the assembled members.

1. 15. f6tx lebem tieuen お rntbe may be understood as applying to
the admission of new members.

1. 19. ^eutefit is the imperative. 一 bie frete SBeife, that is, the
unaffected, natural manners and freedom from restraint of the members
of the organization among themselves.

1. 26. mit freiem i^ebetti^bUff, ivith untrammeUd views of life.
Bowling translates, "with life-discernments free."

1. 29. gebrSnget, oppressed, annoyed,

1. 30. ^4 t^ethtitfen, be destroyed,

30. £iH さ $ar!.

First appeared in ©d^riften, 1789.

This poem undoubtedly belongs to the months of the relationship
with Lili, but the exact date of composition is uncertain. In SHd^tung
unb SBal^r^eit (3Ber!c, XXIX, 158) Goethe tells of the vexation with
which he saw the crowd of admirers about Lili at the time of the
Frankfort fair in September, 1775. A few lines further on he states,
somewhat uncertainly, that the poem belongs to about this period.
Von Lioeper and other commentators set it in the spring of 1 775, prior
to the Swiss journey, on the ground that it would hardly be possible
for Goethe to write thus humorously of the matter almost on the eve of
the breaking of the engagement with Lili. Nevertheless September
seems reasonable. The feelings wnich he gives to the bear are only
humorous reflections of his own state of mind in those days, at one

196

GOETHES GEDICHTE

[Sel. 30.

moment joyous, at another despairing, and full at all times of contending
desires to possess Lili and to be free. Besides, why should he not be
able to see the humorous side of the affair, even if he were about to
break his engagement ？

The title $arf refers to a sort of zoological garden or collection of
animals in a park.

1. 2. meiner i&re, lit., " my Lili，s hers," that of my Lili.

1. 3. Xiere, these are the ^rinjeit of 1. 7. The animals are to be
regarded as enchanted princes.

1. 22. ^efd^toeige, to say nothing of, 一 ge&t，S att eitt ^iifen,

then begins a picking,

1. 31. $ ゆ i, the call for chickens, and in L 67 the chicken itself.

1. 38. ungeltlft, unlickedy ungainly. It used to be believed that
the bear's cubs were bom misshapen and had to be licked into shape.
一 UngejOgett, ill-bred,

1. 39. お eff^htfi, enclosure, i.e. the ^arL

1. 46. The bystanders take up the word id^ of 1. 44， which he uttered
apparently unintentionally, and he is thus compelled to admit that he is
the bear.

1. 48. gfiletfdtnrs, gefiricfted obcr gemebted 92e お. (Strehlke.)

1. 70. aitfgefht^t, trimmed. It was then the fashion to trim trees
into all sorts of fanciful shapes.

1. 71. SSouIingteen, partly French and partly English for bowling
greeny meaning here merely the smooth lawn.

1. 78. Ii(eit ♦ ♦ ♦ Itieber, pulls down like a leaden wtighi, wei ゆ s
down.

1. 79. \filtli ♦ ♦ • totber, pulls back (as with a barbed hook).

1. 81. an gelftttfteltett ^ai^Iabeu, artificial cascades. The Oreades,
or mountain nymphs of 1. 84 were figures used to ornament the cascades.
1. 8g. toarm, BIutetlO0, because he hears her voice.
1. 97. ta^ftg, awkward,

I. 100. iftffen, the same as jurfen.

II. 110-112. Come now, gently ！ {Uive me) your paw ！ And make
your bow like a nice gentleman,

1. 115. ftdt ttnnii 禽 mndtett, be overbold.

1. 131. bumt^f, oppressive, distressing.

Sel. 31-33.]

NOTES.

197

31« ^tt eitt goUme さ や er き, bu さ er am や nlfe trug.

First appeared in ©d^riftflt, 1789.

On June 23, 1775, Goethe was on the St. Gothard pass, struggling to
decide whether to prolong his journey into Italy or to return to Lili.
In this connection he says in S)i ゆ tung unb Sa^rl^eit (SBerfe, XXIX,

130) ： @in gotbne^ ©ergti^en, bad i ゆ in ft^onfien ©tunbcn tjon i^r er-
fatten り atte, り ing not^ an bemfelben ^anbd^en, an ivett^em fic eS um-
fnilpftc, tlebemormt an tncinem ©aJfc. 3d) fagte eS unb liigte es;
mag ein baburd^ t)eran(agted Sieb au ゆ り ier eingeft^dtet feitu This

seems to mean that the poem was composed at that time. Commen-
tators have, however, generally concluded from the internal evidence of
the poem that it must have originated after the engagement had been
broken off. This seems to be the more probable supposition. His
thoughts still turned to Lili, even in the first weeks at Weimar.

First appeared January, 1776, in Wieland's ！ 5)er teutfd^e Tttvtnv with
the title, 3o0cr8 9{ad|tUeb; taken into ©c^riftcn, 1789, with changes.

The time of its composition is unknown, but it seems not improbable
that it was written before the end of 1775 and after .Goethe,s arrival in
Weimar, called forth by recollections of Lili and possibly influenced by
the poet's participation in the pleasures of the hunt. It may have
originated earlier, however, or have reference to some other than Lili.

As the hunter is roving about in search of game, the image of bis
beloved one appears to him. This causes hint to reflect that she too is
possibly strolling about in field and valley at the same hour, and to
wonder whether his image also appears to her. The parallelism of the
first two stanzas is also shown in ftiU ttltb toifh of L i and fttU Uttb

mUb of 1. 5.

33. 3Ctt 腿 ♦

First appeared in 1869 in Hempel's edition of ®oe ゆ eS SBerfe.

These lines were written in January or February, 1776, in a copy of
Goethe's ^ttUa, sent by him to Lili. In 1866 this copy of ©teUa was
purchased by the grand duchess and is now in the library at Weimar.

198

GOETHES GEDICHTE. [Sel. 33-35.

Compare the first four lines of the poem with the first stanza of 3 き
级 benbUeb,
1. 5. や ier, i.e. in (SteUa.

34, き nbm さ 動，

First appeared in Pfeiminger，s (2 [り rifUi ゆ eS aWagajilt, 1780, with the
title, Urn griebc; taken into ©d^riften, 1789.

The original manuscript, sent as a letter to Frau von Stein and in-
tended for her, ends with the words : 5(m $aug bed StterS&erg, b. 12.
gebr. 16, @.

A new and powerful influence had come into Goethe's life. His
intimacy with Frau von Stein was in its early stages, and the poet had
turned his affections towards her. She was to be for ten years perhaps
the most potent influence of his being. It was a strange and unnatural
intimacy, which, whether Platonic or not, could not lail m the long run
to be hurtful. The poem is a reflection of the unrest which possessed
Goethe in the earlier stages of his relations to her.

35. ま ntm galift bit im さ hit ttefeu お litfe.

First appeared in SchoU's ®oe ゆ SBriefc an grau t)on @tcin, 1848.

This poem was sent, like the preceding, as a letter to Frau von Stein
and was dated, April 14, 1776. The first four lines are the key to the
whole : The lament that fate has given them such clear perception of
the dangers of the future, if they give themselves up unrestrainedly to
their love, that they dare not fully enjoy the present. His letters to
her at that time show clearly that he was chafing under the restraint
which she required of him, doubtless because she was mindful that she
was the wife of another. It is scarcely conceivable that his passion had at
that time aroused any answering passion m her, and the poem must be
considered merely as the expression of his own feelings.

1. 4. ttpS^nenb felig ntrnmer l^tttjntranit, in blissful delusion never

to give ourselves up to.

1. g. Here begins the contrast between them and the many thou-
sands of others who do not understand their own hearts and who live
blindly in the present, sorrowing or rejoicing as the moment bids.

Bel. 35, 36.]

NOTES.

199

1. 10. bttltt|lf fid^ ttetlieitb, drifting on almost unconsciously,
1. i6. toed^felfeit^ge is explained by the following lines.

I. 19* anf ♦ • ♦ un さき ttgel^en, to go out to seek, 一 Xraumglficf,

Xvauitlgefll^r, i.e. the happiness and danger are either as unreal or as
transitory as a dream.

II. 23-24. Unlike the empty dreams and vain divinations of others,
what they dream and divine is only too true, confirmed by their every
meeting and every glance.

1. 26. rettt is merely strengthening here; rein genau, very closely.
1. 28. Compare with these lines the fragmentary letter to Wieland

(Sriefc, III, 51) ： 3 ゆ ！ ann tnir bie ©cbcutfamfcit 一 bie 9Wad^t, bie
bicfc grau ubfr nti ゆ l^at, anberd lU ゆ t erflfiren a お bur ゆ bie @eeteti-
tuanberung. 一 3a, tt)ir tuarcn einfi 9Rann unb SSclb I 一 Sflm iDiffcn
tt)lr tjon unS 一 t)e ゆ fiUt, in (Sciflerbuft. 一 Sd^ l^abe ！ eine Seamen filr
議 一 bie お erga 零 n&eit — bie 3uftnift — bad OT.

1. 32. blttd^britlgt, i.e. she could easily read his secret thoughts,
while others could not fathom him.

1. 35. vnlyte Wlf' rested and was restored,

1. 38. tiergaitleltt, " make pass as if by jugglery,** make pass delight'
1. 46. itSUr ttOfj^, i.e. in this present existence.

36. SHaftlofe Sielie.

First appeared in ©d^riftcn, 1 789.

Herder's copy has date and place, Stmcnau, ben 6. 3)?ai 1*7*76. This
fixes the time of composition, which is also confirmed by the fact that
snow fell at this time at Ilmenau, as is shown by Goethe's letter of May
4 to Karl August That his passion for Frau von Stein inspired the
poem is evident. Its whole burden is the bittersweet of his love for
her. Biedermann (@oe ゆ e-gorf ゆ ungnt, 9^euc golge, 309) sees in the
poem influences of a ballad from Percy's Reliques^ Love will find out the
way,

1. 8. midt f li^lagett, fight my way,

1. 11. afle bad iReigett, all the yearning, (Bowring.)

1. 12. ^txytVi is both times singular.

1. 15. As punctuated here the line reads, How shall I flee ？ as 11 he

200

GOETHES GEDICHTE. [Sel. 37, 38.

were asking by what means he might escape. In Herder's copy the
line is, SBie? @ott ゆ fli ゆ eil? ("What! Shall I flee?") as if the
thought of flight, as he had once before fled to Switzerland from lili,
were at that moment arising in his soul. This latter punctuation has
much in its favor.

1. 20. as usual, the abstract, not " the loved one."

37. dHnfdtvSttfung.

First appeared in ©d^riftcil, 1789.

In its original form this poem was written at Stutzerbach, near Ilmen-
au, on August 3, 1 776, and sent as inclosure in a letter to Lavater about
three weeks later. It was then entitled ！ S)em <S ゆ icffaL The version
published in ©(i^riftcn, 1 789, which is followed here, differed greatly from
the original. For example, the fourth and fifth lines formerly ran, Tleitt
^arl unb id) t)crgeffcn ^icr, 2Bic fcltfam und tin ticfcS ©(^icffal tcitct.
The new version omitted all reference to Karl August and made such
other changes that it and the onginal form have little in common after
the first three lines, wnich are nearly the same in both, except the ex-
pression of the conviction that fate has great things in store for him in
the future.

1. 8. bud ttdftt WUtt^^ He had already experienced the extremes
of joy and of sorrow and wished that the future might in all things hit
upon the right measure, the golden mean.

1. g. What can I do now, except, wrapped in myself (like an un-
opened bud), etc.

38. (Seefii は

First published in the periodical ！ S)eut{(^ed iUhlfeum, September,
1777； taken into @ ゆ rifteit, 1 789, with changes.

Herder，s copy is dated September 11, 1776. A copy was sent on
September 16 of that year to Lavater and also to Merck. Under the
figure of a voyage at sea Goethe sets forth his departure from Frankfort
and the changing, sometimes stormy, experiences of the first months at
Weimar. The haven from which he starts is, of course, Frankfort. He
had grown much dissatisfied with his condition and environments there,
and always viewed his going to Weimar as a release from surroundings

Sel. 38.]

NOTES

201

which might have become unendurable. He began his voyage with re-
joicing.

And yet his position at Weimar had its difficulties in those months.
He was a sort of storm center of the contrary winds of ducal and social
favor and of political and social intrigues directed against him. The
affairs of court and state seemed likely to divert him from his life's pur-
pose. When he wrote the poem, the outcome was as yet unknown, but
he closes with firm confidence in the gods controlling his destiny. A
comparison with (Sinf(i^ran!ung is instructive, ©ecfa^rt abounds in
bold figures of speech and bold syntactical constructions.

1. 6. gihttten, " not begrudge," say, wish.

1. 7. 1§0 りり important,

1. 9. ttPtrb bit 9}ilffle]§reitbem in unferu 贫 rmen SteB^ unb $re お

($tt teil). For this use of the participle 9?ii(ffe^renbem see Sel. 22,

note to 1. 32.

1. 12. etttjnit d^gt, here, woke us with shouts of joy*

1. 15. Bm り en, an unexpected use of the word, referring, of course,

to the fact that the sails are swollen by the wind.
1. 20. tojl^ntttb, imagining that he was to have.

I. 22. gottgefanbt, sent of the gods, not the Christian conception pf
God-sent. 一 ^Q^ed^felttPtttbe, changing winds.

II. 24-26. That is, he tacks. The poet now conceives himself as the
boatman, the Sd|tffer, of 1. 32.

1. 26. fd^ief, devious, as he is driven out of the direct course.

1. 27. bum や f, say, indistinct. In earlier years Goethe was very fond
of this word and often used it in ways which defy satisfactory translation
into English.

1. 33. SJntte, i.e. the ship.

1. 36. f^efteit, supply land. The letters of the time to Goethe and
from him show the anxiety of his friends for him.

1. 45. Note the words of his letter of March 6， 1776, to Lavater : 3 ゆ
bin mm ganj cingefd^ifft auf bcr ^oge ber SBctt ― t)ott entf ゆ loffeti:
gu entberfcn, gctulnnen, ftreitcn, ゆ eitent, ober mlt atter i?abung
in blc ？ uft gu f)}rengen.

202

GOETHES GEDICHTE. [Sel. 39, 40.

39, ^offttttttg.

First appeared in @ ゆ riften, 1789.

The poem is assigned conjecturally to November, 1776, or a little
later. In April of that year Goethe took possession of the house and
garden on the Ilm, which were presented to him by Karl August. On
the first day of the following November he planted linden trees there
は (tgeoilt^er, I， 26), and the poem was probably composed then or not
long afterwards. While doubtless called forth by his wishes for the
growth of the trees, it refers symbolically to his future at Weimar and
the successful completion of his work there.

1. 1. S4aff\ bring it to pass. He addresses お 0&eS @ 歸, and bad
%Ci^XDtxi is in apportion to eS of 1. 2.

40. £ieBeBebtt7fitti$«

First appeared in @d|riften, 1789.

Sent to Frau von Stein, dated November 2, 1776, and with the title,
Sin ben ®cifl be« So^anned @ehmbuS. Under this pseudonym were
published the Latin poems of the Dutchman Jan Everard (151 1-1536).
Goethe had become acquainted with these poems a few year^" before
and took up his Basia {kisses) again in the autumn of 1776. The in-
fluence of the Dutchman can apparently be traced in several of Goe-
the's lyrics and also in 況 i^mif ゆ e (Slegiett (for a detailed account of Goe-
the's indebtedness to Johannes Secundus see @oe ゆ e-3 ゆ rbud^, XIII,
295 ff.).

The manners of Weimar society were somewhat lax at that time, and
kisses were not hard to obtain. Kissing games were not unknown even
at court. Goethe was just then annoyed by chapped lips. In his letter
of November 3, he asks Frau von Stein to send him a remedy for them.
The poem originally began with the line, ？ iebcr, り eiUger, groger ^jfet.
It was a humorous explanation of the cause of his chapped lips, with
none of the sentiment expressed in the new title and in the last two
lines as they now exist. In preparing the version for his ©d^rtften,
Goethe omitted all references to Johannes Secundus, made other
changes, and cut the poem down to about half its former length.

1. 2. totr, say, even if some one.

Sel. 41,42.]

NOTES.

203

41» gfeiger ^ebattfeu HnHidit^ @d|tiiaitlett.

First appeared in 2^eatei:-^akttber auf bad 3a 1*7*78; taken as a
separate poem into き taffene SBcrfe, 1833. '

The lines were written as a part of the play 2xlCi, which was given on
the birthday of the grand duchess, January 30, 1777. They were there
sung by the fairy Sonna. The play was revised, while Goethe was in
Italy, and the poem was then assigned to the physician Verazio in the
r61e of Magus, who sings the lines to encourage Lila, who has become
temporarily insane over the supposed death of her husband.

1. 8. $ru お, instead of £ro お，

42. や ar$reife tm 想 inter*

First appeared in @d^rif ten, 1 789.

This ode has from the time of its publication caused difficulty to both
readers and commentators because of its lack of unity. At first reading
it seems to consist of a number of disconnected poems under one title,
as if the poet at each stage of his journey had cast into poetical form
his experiences and feelings, only to b^n with a new theme at the
next stage. Nor does further study lead to a conclusion essentially
different. While the poem has striking excellences in language and
rhythmic movement, in bold thoughts ana images, it suffers from lack
of unity and occasional obscureness.

The history of its origin is, however, reasonably clear. Goethe's own
account of the poem, as printed in Uber ^unft unb SUter ゆ um in 182 1,
and the testimony of his diary and of his letters to Frau von Stein are
the important sources of information about it.

The peasants about Eisenach complained of the damage done to
their crops by the overabundant game, and Karl August therefore
determined to undertake a great boar hunt in that region in order to
remedy the evil. Goethe was to accompany him, but received per-
mission to make *a detour to the Harz mountains before joining the
hunting party. His reasons for this journey were two. In the first
place, he wished to gain some acquaintance with actual mining opera-
tions in the Harz mountains, as he and Karl August already had in
view the reopening of the mines at Umenau. The second reason was

204

GOETHES GEDICHTE.

[Sel. 42

his desire to visit a hypochondriac, named Plessing, who lived at Wer-
nigerode and who had written to beseech his aid and advice. Doubt-
less the attractions of the slightly dangerous journey and the prospect
of a few days' relief from business responsibilities and the sometimes
wearisome occupation as mentor and intimate friend of Karl August
were not without their influence.

He set out from Weimar on horseback, under an assumed name, on
November 29, 1777, visited Plessing, inspected mines, ascended the
Bracken on December 10， and joined Karl August at Eisenach a few
days later. His diary shows that the poena was begun on December i.
Portions were probably written on different days, but the latter part
could not have been composed before the ascent of the Brocken. The
actual completion of the poem may have been deferred to the latter
part of December after the return to Weimar,

1. 6. After the introductory words of the first five lines, Goethe pro-
ceeds to treat of the two classes of mankind represented by ^tt ^lUIT-

Ud^e of 1. 9 and by fS&tm ahtt Ungliiff, etc., of 1. 12.

I. 17. bte bodt Btttere Sd^ere, referring to the cutting of the thread
of existence by the Fates. The phrase bie ho6) bittcrc shows that the
unfortunate fear death, even though they are unhappy in life.

II. 19-23 are an aside. 一 お fhd| お- Scl^fltter, say, awesome thicket,

I. 23. Sitm^fe, seemingly the cities as the abode of the rich.

II. 24-28, referring again to the fortunate. f^OttUlta, the goddess of
fortune.

11. 29-50, referring again to the unfortunate, doubtless called forth
by thoughts of Plessing. 一 fl^feU さ, that is, off the road on which the
chariot of Fortuna goes.

1. 36. of him with whom the balsam {of love) has turned to the poison
(of hate). The idea is carried out further in the following lines. A
man full of love for others has felt himself met coldly and disdainfully,
and his love has therefore turned to hatred of mankind. Hence t)cr*

adfttet and ^crad^ter of 1. 39.

I. 42. @e(Bftftt(i^t, not selfishness, but rather undue self-introspection,
"brooding over himself." (Dwight.)

II. 51-59, referring to the hunting party, which he was soon to join,
and to former attempts of the peasants to prevent the ravages of the
wild animals.

Sel. 42, 43.]

NOTES.

205

I. 6o. From here to 1. 82 the poem deals with the poet himself.

II. 66-81 refer to the various stages of the journey, culminating in
the ascent of the Brocken. ^ic bSmmembe ^adtl is the moon.

1. 73* Bet^enbett, say, cutting.

1. 75. That is, the noise of the falling water mingles with his psalms.
1. 77. ^(tmr. In the evening after his descent from the mountain
Goethe wrote in a letter to Frau von Stein : XOOX oben l^eut unb

l^abe auf bem 2^cufc(6altar meinem @ott ben Ucbflcn ！ 5)anf geo^fert.

The Brocken 'is famed in German song and story as the meeting place
of witches, etc. Notice the name ま ettfel さ ttUur in the passage just
quoted and @eiftemi ま in 1. 80.

1. 81. a^tttnbC, because the existence of higher powers was dimly
felt.

1. 82. あ tt is addressed to the Brocken. This mountain contains no
mineral wealth and is therefore without mines; hence, unerfotft^t.

1. 83. That is, full of mystery and yet entirely visible.
11. 84-86, suggested by Matthew iv, 8.

1. 88. toiifferft The veins of metal in the brothers of the Brocken
help to sustain "the kingdoms of the world and the glory of them ノ，

43. 贫 tt ben SRonb.

First published in @ ゆ riften, 1 789.

A copy of the first version of the poem, set to music by von Secken-
dorff, was sent to Frau von Stein, apparently as an inclosure in a letter.
But when? The date can not be certainly established, but a not un-
reasonable supposition connects the origin of the poem with the suicide
of Christiane von Lassberg, who drowned herself in the Ilm on January
16, 1778. Goethe was supposed to refer to this event in an obscure
passage of the first version of the poem. At some time before the
Italian journey Goethe revised the lines and made of them an essentially
new poem.

In the present version the poet is represented as strolling alone in the
moonlight which awakens memories of past joys and sorrows. 1 ne noise
of the running water (fourth stanza) reminds him of a faithless sweet-
heart, but at the same time it awakens in him (sixth stanza) new songs,
so that he can consider himself blest (eigth stanza) in being aole to

206

GOETHES GEDICHTE. [Sel. 43-46.

separate himself from the world without hating it and in having a friend
who shares the thoughts and feelings which come at night. The poem
has been extravagantly praised for the wonderful beauty and melodious
flow of its words, but it is nevertheless faulty. Whatever of unity it
possesses must be read into it; the transitions in thought are not merely
unexpected but are totally without justification in anything that goes
before them.

1. 3- (dfen, set free.

1. 5. @efUb, say, demesne, •
1. 17. The possession of which he speaks is the love of some maiden.
Did he mean Lili Schonemann ？

First appeared in Urania, ^Qfc^enbud^ auf bad 3 ゆ r 1839.

These lines formed part of a letter of March 17, 1778 to Augusts
Grafin zu Stolberg, whose brothers were with him during most of the
Swiss journey of 1775. The letter of which the poem is a part, gives
no explanation of the time of its origin nor of the reason for it. Von
Loeper believed that it originated in the poet's fear that he would die
young.

1. 5. olfttBetrilBt, instead of unbetdlbt

45. $)cr gfifd^er.

First appeared in von Seckendorff*s 35oI お- unb anbere ?icbcv in the
spring of 1779; taken into @(3f|riften, 1789.

Nothing more than is revealed by the time of publication is certainly
known with regard to its ongin, but it is commonly regarded as a product
of the year 1778. The attractive power of water, represented here by
the mermaid, is not an uncommon theme in poetry.

1. 3. ^ngtl, here masculine, generally feminine.

1. 6. The waters divided as they rose.

1. 12. ^obti^glltt, probably referring to the air, in which the fish
must die.

1. 13. f^ifli^Iettt is dative.

1. 14. @ntnb, bottom.

Sel. 46, 46.]

NOTES.

207

1. 17. Sonne, that is, when setting.

1. 21. や imniel, referring to the reflection of the sky in the water,

1. 22. fettd^hierf Uitt, transfigured, or made doubly beautiful by the
water,

1. 27. ttmcl^ さ, here, swelled,

1. 30. ttm ilftt gefd^e り en, all over with him.

First appeared in @a)rtftcn, 1789.

In the autumn of 1779, Goethe, in company with Karl August, made
a journey of some three month's duration into Switzerland by way of
Frankfort. At this time he saw Fnederike Brion again and felt himself
forgiven, and found Lili Schonemann in her new home, as wife and
mother, ©efattg bet ©cifler is one of the poetical fruits of the journey.
On October 9 he visited the ©taubbad^^ the famous waterfall near
Lauterbrunnen, and inclosed the poem in the letter to Frau von Stein
of October 14. It was called forth by the waterfall and was probably
written on the first day of his visit there or on the next.

The interpretation of the poem is made easier by a consideration of
the form in which it was sent to Frau von Stem. There the song is
sung in alternate strophes of irregular length by two spirits. The first
sings lines 1-4,8-17, 23,24， 28,29, 32, 33, the other lines being as-
signed to the second spirit.

In the present version the first seven lines refer to the rising of
the water to the heavens in consequence of evaporation and of its
return to earth in the form of rain. Lines 8-17 describe the @taub-
baci^. The water there falls a distance of about nine hundred feet, but
it is turned into spray and mist before it reaches the bottom. The
second spmt was originally supposed to sing lines 18-22. They de-
scribe a very different waterfall, or rather the rapids of some stream.
Lines 23-27 follow the course of the stream through the plain after its
mad tumble from the hills. We see it emptying or gradually widening
into a lake, the waters of which are stirred up from the bottom by the
wind (11. 28-31). The whole is a parallel between the constant move-
ment of the water and human fate.

1. 10. Stttt&I, referring to the water.

46. ^efang ber ©cifter ilBer ben SBaffern.

208

GOETHES GEDICHTE. [Sel. 46-48.

1. i8. ragett ♦ ♦ ♦ entgegett, dip project to meet the plunge, i.e. the
stream plunges over cliffs.

1. ai. fhlfeMeife, in steps, i.e. in rapids.

47* ほ 3 mar etu fattier Sd^Sfer*

First appeared in 3は り unb ®3tel り, etn ©ingf^)ici, 1780； taken as a
separate poem into SRa ゆ gdaffeiie SBcrfc, 1833.

The poem forms a part of 3ば り unb ®atel^ which was begun in the
latter part of the Swiss journey of 1779 and completed by the end of
the year. The lines were sui^g by Thomas to his friend in ridicule of
the latter's lovesick condition.

1. 2. SieliettfdtlaftV, because he slept as soundly as one of the
seven sleepers of Ephesus, who, to escape from religious persecution,
took refuge in a cave and slept there nearly two hundred years.

1. 4. faffett, here, completely captivate,

48. ま ttbm さ 9M"ieb»

Pirst appeared in SSfrfc, 1815.

On September 6, 1 780， Goethe was at a shooting box on the summit
of the Gickelhahn, the highest elevation in the neighborhood of Ilme-
nau, and spent the night there. This night or the next morning he
wrote in pencil on the inner wall of the upper story of the house these
lines. The house was burned down in 1870. By some the poem is
assigned to September, 1783, at which time also Goethe was at the
shooting box. The earlier date seems the more probable on careful
weighing of the evidence for both.

At the first writing the poem was not the expression of a desire for
rest in the grave or for peace in the life beyond. Shortly before the
close of his life Goethe did, however, give it this application with
reference to himself. He visited the house on August 27, 1831, in
company with inspector Mahr. He climbed the stairs to the upper
room, found the poem, and in the words of Mahr: @oe ゆ e ilberlaS
bicfc tocnigcn お erfe, unb SJrSnen floffcn itber fcinc ^angen. ©anj
iangfam gog cr fein fc^neclDcigcS £af ゆ entud^ au9 feincm bunfelbraunen
2^ud^ro(f, trodnctc f ゆ bic S^rdnen unb fprad^ in fanftcm, tt) ゆ miitigem

Sel. 4M1.]

NOTES

209

^on: ,,3ci: tt)artc nur, haiht rul^efi bu aud^ I" (Biedermann*s ®octl^c«
@eft)rfid^e, VIII, io8).

First published in ©d^riften, 1789.

This was an undated letter to Frau von Stein, written from Gotha
and assigned by Fielitz to the first days of October, 1781. The original
text has Lotte in 1. i instead of Lida, but is otherwise identical in word-
ing with the form given here.

1. 10. Fielitz remarks: ！ 5)a6 @nbe ©eptcmber 1781 in SWittcJbcutfd^*
lanb eln 92oi:bli(^t ftd^tbar gett)efen, l)at ^, @oebe!e ermittclt.

50. @rlldttig.

First appeared in S)ie gtfd^erln, eilt @ingfpict, 1782； taken as a
separate poem into @d)rlftcn, 1789.

Included as a song in 2)ie き ift^eirin, which was first represented at
Tiefurt, one of the ducal country seats, on July 22, 1782. Nothing
more can be said with certainty concerning the origin of ！ 5)ic §if ゆ erilt
or of the poem, although many conjectures have been made. A ballad,
@rl!onlgd Softer, translated from the Danish, appeared in Herder's
お ひ SUeber and seems to have suggested the title and the outline of the
theme of Goethe，s poem. By (Srlfontg is meant the king of the elves.

1. ttfO^l, i.e. securely, snugly clasped.

1. 7. Sd^tOetf, train (of his long mantel).

1. 18. ttlfltteit, wait on, care for.

1. 19. 9iei り tt, dance,

1. 20. eitt (modifying here iDtegett, tangen and ftngen), to sleep,
1. 32. あ cf, here, {fartn) house.

51. あ a さ mtiixiS^t.

First appeared in F. H. Jacobi，s Uber bie Sc^re bed ©ptnojja, 1785；
taken into ten, 1 789.

The poem was in existence towards the end of 1 783, being included
at that time in the so-called 2.icfurtcr 3ourna(, a manuscript literary
journal circulating in the court circle of Weimar. Nothing more is

•21

nosirivelv \:iiown >f 'he "bne ',r xxasHMc )t its 'irighi, aitfaou^ So^&bb
las aavancea *he • 'pimoa hat Ilttdcr^ copr 'iactes- fmin r^r ^iKtAc*

、！ toijrtafr, ri' nz).

L 5. - ne "JBcicn^ Die nir ftnan^ j» contrastExi witft t&e Stpli^
tivr dllHm )t 乙 3y • he latter is nrait the Goatfet a&tn

ays :<"><is. '.loweTrcr, '▼hen le rcailv lueans ' jt>cL and pmbxblv » ftexe.

IL II， 12. jHTiermiiaf 'hese tiro .mca 's 'be ttmigbt timt omr cos-
-^eptions >t *he -^ocia or ' u)d) are ail snd 'm 'jinBSii^existxistw&m&wv
-, ee :n »ood .ica iiome mm. Thexeiorc the eaamgie of am: & x bod
leads K "o ':)elieve 'n "hem-

L 13. mfntjhfWi^ not "haisfa ', or "crneV， but miihatU ye&n^^ be-
cause liike .liL Tlie thoufrht 'hat ail ')i nattnc's- apexxduns are for
•he ♦^Til 3SL 'veil IS he り " :s mnputied in the next Ibie&

L 26. F'lrttme too ic^ws her facvnis an the vroiiliy ami t&e m-
vrorthy.

L 33. ゅ1 W!，， ； rrazen, because undxaiigeable ami anbreakabk.
Notice 3e« -^hfrnen Jfiaoend, Sei. 4^ I. r6.

L 35. WlfetCtt £llfes]li# fitgifty ,》£ drcuii ■]/ our £xistzm:e- (Eov-
ring つ

レ 38. Unsiffili^ i.e- man diSos hmn the fiDrces of nahnc^
etc., in *hat he can discriininate between the good and the criL

L 47. Wl€9 ' , , >f iWlligl^ ail that wtatders (tmd strays csnt msf
fully hUnd, r Bo wring. リ

U. 49-54. These line* amplify the tftovg&t akeaxfy e^ressed in 0.
rr, l^,

L お' iai fryfOr ク" な ム びが icaU,

Fir<;t appeared in Goethe's novel, Stt^dnt せ rrft ？ ゆ re, 1795；
tak^m お a separate poem into fieiie Sc^riften, iSoo» with changes.

Th" hftllarl l<i found in the eleventh chapter of the second book of
Sfyt ゆ" m SWflflCTf £e^rja^rc. Goethe finished this portion of the novel
in f 7^^;^. The ballad may be of earlier origin. In the novel it is sung
\iy tfic hftfprr, the inyttery of whose life and sorrows remains so long
tmr^iplalfiffl. He wa» brought into Wilhelm*s presence by the landlord
(A thr inn. After describing the effect of one of his songs the novel

Sel. 62-M.]

NOTES.

211

^aum fjattt er geenbigt, aid i^m SSlt^etm juricf: 2Ber bu aud^ feijl,
ber bu, cln ]^itfreid)cr お geifl, tnit ciner fegnenben unb bete*
benben ©timme imS fommjl, nimm mcinc SScrc^rung unb meinen
S)aii! ！ ffll^le, bag n)ir aHe btd^ bcnjunbcrn, unb tocrtrau' unS, tucnn bu
etttmS bcbarffl.

2)er 3lltc fd^tDieg, Hcg crjl fcine ginger iibcr Me @altcn fdjletd^en,
bann griff er fie jlarfcr an unb fang.
Then followed the ballad.

1. I • The king hears the minstrel singing outside on the drawbridge
and speaks lines 1-4. The page goes as commanded and returns with
the information to the king, who speaks line 7.

1. 8. The minstrel speaks the whole of this stanza.

1. 17. brein, on.

1. 22. The last three stanzas, with the exception of line 36, are
spoken by the minstrel.

53» 2)er $arfenftiie(er*

First appeared in SBill^ctm iWcljlerS ？ c^rjal^rc, 1795； taken as sepa-
rate poem into SBcrfc, 1815.

These lines are found in the thirteenth chapter of the second book of
2BiI§eIm 3J?eifterS 2 ゆ rjal^re. The facts known about its origin are the
same as for 2)er ©anger. It was sung by the harper at Wilhelm's re-
quest ： @inge nUr, は aS bu は ittfl, nmS pi beincr Sage pa お t, unb t^ue
nur, atd ob id) gar nid)t l^lcr は fire* (SS fd^etnt mir, ob bu l^cute
nid^t irren fonntcjl. ^d) finbc btd^ fe^r glflcfU ゆ, bag bu hi^ in bcr
©infamfeit fo angenel^m bef(i)dfttgen unb untcr^altcn fannft, unb ba bu
uhtxaU tin grembUng bifl, in betnem ^ergen bie angenc^mfle お efcmnt'
fd^aft finbefl.

1. 8. nid^t aUtin, i.e. Onal or ^cin will be with him.

54. 2)erfelbe*

Dates of publication the same as for Sel. 53.

Also to be found in the thirteenth chapter of the second book of
2Bilf)ctm 9J?eiflcr8 ？ c^rjalire, where it precedes SeL 53. The facts
known about its origin have already been mentioned in the notes to

212

GOETHES GEDICHTE. [Sel. 54, 55.

Sel. 53. Wilhelm was about to make a visit to the harper, and as he
stood outside his door, he heard him sing this song. It is a complaint
against the heavenly powers for having allowed him unwittingly and in all
innocence to commit evil (as is explained later in the novel) and for
having then left him to his suffering.

55 參 Sltnenim,

First appeared in 2Bcr!c, 1815.

In his letter of August 30, 1783, Goethe told Frau von Stein that he
purposed to prepare a poem for the Dirthday of Karl August, which
came on September 3. He passed thereupon a few days in Ilmenau
and wrote this poem. It does honor to Goethe both as a man and a
poet, and reveals the essential nobility of character of the ruler who
could remain the mend of the author of such lines.

Goethe's relations with the duke before his Italian journey have often
been understood in two radically different ways. On the one hand be
has been considered a court parasite, an ignoble flatterer, a commoner
seeking to curry favor with the great. This view has been more often
held outside of his native land than in it, although not unknown there.
On the other hand, and particularly in Germany, where a sort of Goethe
cult rages, he has been extolled as a great political power in Weimar,
and all the good qualities of Karl August are claimed to be of his mak-
ing. Both views seem to be incorrect.

It is difficult to believe that Goethe's presence at Weimar made any
essential difference in the fortunes of the little duchy. Politically the
land was so petty that imperative circumstances, even more than Goe-
the's influence, prevented Karl August from playing much of a r61e in
the larger politics of Germany. He was therefore chiefly shut up to the
internal development of the duchy. Goethe doubtless did well such
administrative work as was intrusted to him, but again the smallness of
the land made it possible for any one of lair abilities to do the work
well enough. Goethe had lofty views of the office of ruler and may
have influenced Karl August greatly by them, but they were not origi-
nal, and it is therefore unnecessary to conclude that the political opinions
of the duke were largely his creation.

Soon after his arrival at Weimar he certainly did begin to look upon

Sel. 65.]

NOTES

213

himself as the guide and, in a sense, the teacher of the duke, who was
eight years his junior and only a boy. After a time he certainly did re-
strain him in many of his excesses. His self-imposed task had its fre-
quent discouragements. How far this social and moral influence ex-
tended is hard to estimate, but it doubtless helped to form the character
of the youthful duke and redounds to Goethe's honor. On the other
hand, Weimar and the duke did much to help and form Goethe, but
these influences need not be mentioned here. Much of this relationship
is found reflected in the poem.

1. I. The region round about Umenau was well known to Goethe
from frequent visits there.

1. 8. (Srl^aiener お erg, he means the @t(fe ゆ al^n. See notes to Sel.
48.

1. II. I as well as others have deserved this of you,
1^12. fotge frttt, referring to the plans to reopen the mines at I レ
menau. See notes to Scl. 42.

1. 16. SBUb, see notes to Sel. 42.

1. 17. ま, miner,

1. 21. Sr&ttltte* This means that his request in the two lines pre-
ceding has been granted.

1. 23. tnir tuieber fell^ft, von Loeper and others supply gegeben,
which is apparently what Goethe meant. Strehlke ana others make
mir depend on fern, meaning that he is far from his present se]f, lost in
memory of other days.

1. 28. We are to understand that imagined darkness settles aown
upon him and that he sees in vision the camp of hunters described in
the following stanzas. In later years he described to Eckermann at
length the camp which he had in mind. (®cf|)rad)C, III, 183.)

1. 47. He refers to the legend of SDcr luUbe SSgcr. The term
kvitbe 3agb is applied to a tumult in the air at night, supposed to be
caused by a ghostly crew on a wild midnight hunting expedition.

1. 51. ifi^lj^tter, gypsies,

1. 52. He refers to the prince and his followers in the forest of Arden.
See Shakespeare's As you like it.

1. 53. tierfd^Inttgetten ©rilnben, literally, interlaced vales. The
camp was at the foot of a cliff. It must have been at a comparatively
level spot formed by the common meeting-place of the openings of sev-
eral ravines.

314

GOETHES GEDICHTE.

[Sel. 55.

L 59. Ga«tbe toLd Eckcsmaim that he boe meant von Knebd, and
bi し 69 ^foa S«ckenck>cff.
L 60. MWifpi pari; txv き ffiarr BtMt luu^Iaffig. 一 Mdt, cin*

}i«&r, $«i|Cira$ pi tlfftit, (DSntier.)
L 65. lrWc% lefeiiii^ to hs dry jokes.
L 6B. tSfiaiif^ (ml, '-駕 burbaroms mixture.

L 71. ftiagcfkaft, instead of frtiigeflaltft

IL 74-7^ As ii von Seckendorff woe soaring on high in intellectual
flight and smgiz^ a song of his own conccming the dance of the
spbezcsu

L 7a. dPatiM ftal, in ecstatic lazimss,

1. 79. 3ini§ffw§^. Kail August was only eighteen when Goethe
first went to W eimar.

1. 86. Tnc poet here addresses his former sell

1. 89. raf • • • to have iomeAing important in mind, •

1. 99. and held firmly by jntndship^s spell.

U. 108-111. He here passes judgment upon some of his earlier
achievements. The condemnation is perhaps too severe, but Goethe had
entered into a new phase of life, and it was ever his wont to criticise
harshly modes of thought which he had outgrown or laid aside.

1. 112. Referring to and possibly to others of his early works.

1. 117. In this inability to comport himself as he should, he probably
refers to the impetuosity and lack of regard for conventions which
marked his conduct in the first years at Weimar as well as at Frankfort.

1. 120. The following lines have reference, of course, to the duke as
he was in the earlier period.

1. 123. engeS Sdjficffal, Le. fate restricted him to the narrow life of
a ruler. As duke, he was not so free as other men to develop in his
own way.

1. 125. The vagaries of the young duke often led Goethe to com-
plain, although he recognized the underlying nobility of his character.

I. Z26. A favorite idea with Goethe, that only what we conquer for
ourselves by our own efforts, though it m'ay have been in our possession
before, becomes really ours.

II. X 40-151. The duke was in those years prone to go to extremes.
No physical nsk was too great for him. His undue exertion often led
tu complete exhaustion of body and soul.

Sel. 55, 66.]

NOTES.

215

1. 154. XvaUVH^ Evidently Goethe does not mean the same thing
by this word here and in each of the two lines following. Here it is
perhaps contrasted with fjalb tXtoa(S)t, merely in the sense of " half
asleep," but it more probably means, half lost in gloomy brooding. In
the next line it seems to refer to the anxiety of the young Goethe con-
cerning the future of the duke.

1. 156. With these words the poet bids the vision disappear and he
returns to the then present, the year 1783. %XWXVX means here, of
course, only the vision.

1. 164. @e{!(!91, vision,

1. 166. He is now like a traveler who returns from foreign lands and
recognizes the advantages of his own country.

1. 173. tier^tod^ttett, broken down. The mines at Umenau, which
had been closed for many years, were opened again in the next year, but
proved eventually unprofitable. This portion of Goethe's prophecy was
therefore not actually fulfilled.

1. 179. See note to 1. 123.

56* 3tteigtmttg*

The poem was written at Dingelstedt oh August 8, 1784. Goethe
was then on his way to the Harz mountains and Brunswick, and being
detained at Dingelstedt by an accident to the carriage, made use of the
enforced leisure to write the poem. (See letter to Herder of August 8,
1 784.) The stanzas were originally intended to be the introduction to
a long poem, SDie ©cl^cimniffc, which, however, remained unfinished.
The 3liei0nung was first published in @d)riftcn, 1787, as an introduc-
tion to the works of Goethe; in the edition of 1806 it was taken from
this place and printed as part of 2)ie ©cl^eimniffc ； in 1815 it was, how-
ever, restored to its position as introduction to the collected works, where
it has since remained. As such an introduction it must be interpreted,
the poet's own conception of his mission.

The words, SSie ber Ibet fiel, bad)te id^ an ben ？ tnfang meineS
bidets. 2)ie 3bee bagu l^abe i ゆ ^icr im S^ate gcfunben, which occur in
Goethe's letter of December 12, 1785, written to Frau von Stein from
Jena, are generally regarded as referring to 3ufi9nun0. Accordingly
the final impulse from which the poetic image arose, was given by the

216

GOETHES GEDICHTE. [Sel. 66, 67,

sight of die (fisohring mist in the valley of the Saale near Jena. It was
not, howcTcr, the fiist time that such a scene had impressed him. He
had ofasared the mist from his @arten^an9<!^fn at Weimar, and as early
as 1776 he had made a drami^ of a similar scene at Ilmenau. An-
otbcr iDustradon of the manner in which (he memoiy of some natural
scene or of some simple occnrrence would on fitting occasion be trans-
muted by Go^he into some poetic image. (Blume.)

1. 3. m§ 纖 dKOr {KIcm も Hit, the scene is entirely indeterminate,
and his garden did not fie upon a real hill, but without too much vio-
lence to the facts we may imagine Lroethe as going out from his @arten«
^QUS^en at the outskirts of Weimar, ascending the slight elevation in
the rear of it, and looking across the fields in front of the house towards
the little river Ilm (ghifi ber SBtefen, 1. 9).

1. 13. Sli お = 9nbli(f«.
1. ai. refers to ©onne.

1. 23. lange md^t, far from,

1. 38. fefl mtb fefttt. Such constructions are common with Goethe,
gefl is not to be regarded as the positive, but both words are meant to
be comparatives, with the same sense as immer fejler,

1. 58. eudjf, you men, btt of the next line applying directly to the
poet.

1. 60. ^nbemiKeil, childish impulses,

1. 61. ft^fttltfltfd^, i.e. so much superior to other men.
1. 70. ぞ fttttb, here, taleni, as in the Biblical parable.

I. 97. The whole stanza expresses in various ways the thought that
this veil of poesy can transform pain and sorrow into comfort and joy.

1. loi. SBe^ett, the infinitive of tDCl^en, "blow," used as a noun:
here in the sense of storm, commotion, tumult,

1. 105. The last stanza is addressed by the poet to his friends, in-
viting them to join with him in times both of joy and of sorrow.

• 1. 106. f dottier ttitb fd^tnerer, see note to 1. 38.

57, a^ignon.

First appeared in SBill^etm 9Weljlcr« Sc^rja^rc, 1795； taken into
S33er!e, 1815, as a separate poem.

It stands at the beginning of the third book of SBtll^elm SWcifler.

Sel. 57-^9.]

NOTES.

217

Herder's copy seems to date from 1 785 or 1 786, and as the composition
of that part of the novel belongs to 1784, the poem is probably to be
assigned to the same year, although it may be somewhat older. In it
Mignon, the little Italian girl who had been stolen by a band of rope-
dancers, and whom Wilhelm had rescued and adopted, pours forth her
longing for her native land, and in the varying words of the refrain ®c*
liebter, お efd^ii お er, Skater, expresses somewhat of the different emotions
which we find moving her in the course of the novel.

1. 5. ^enttft btt e さ tHO^l, probably a rhetorical question, meaning,
surely ihou knowest it,

1. 7. や att さ, an Italian country house where she had played as a
child.

1. 13. おは g, referring to the journey over the Alps.
1. 16. ほさ fHltjt, i.e. the clift is precipitous and the stream plunges
over it.

58. 2)iefette*

History of publication the same as for Sel. 57.

It stands at the end of the fifth book of SSit^ctm SWeifier and has no
connection with the narrative preceding. There is no proof of an origin
before 1795, but it may be conjecturally assigned to a much earlier
period, the year 1785.

We may understand that Mignon recited the lines to Wilhelm, fear-
ing that in his heart he reproached her for her refusal to explain the
secret of her past life, and that she kept silence because a vow made to
the Virgin Mary sealed her lips. All human beings, as well as every-
thing in nature, are free to reveal their secrets, but her vow keeps her
silent.

59. 2)iefette*

History of publication the same as for Sel. 57.

This poem may also be assigned conjecturally to the year 1785, but
with more evidence than in the case of Sel. 58. On June 20, 1785,
Goethe wrote to Frau von Stein ： §lcrbel citi 2ieb ゆ eii t)on 3JMgnoiu
♦ , ♦ (Sin Sicb, ba9 nun aud) mein I ft. It is believed that he meant this
poem. His letter of June 27 to her ends with the words : %6), XOZX bie
@e]^nfud)t ！ ennt I The song stands at the end of the eleventh chapter

218

GOETHES GEDICHTE.

[Sel. 69,60.

of the fourth book of 2Bi ゆ elm aWeijlerS 2 ゆ rjagre and is preceded by
the words ： (Sr t) ば fid in cine traumcnbe ©el^nfud^t, unb toit em-
jlimmenb mlt fcinen @m))ftnbungfn war bad Sicb, bad then in bicfcr
@tunbe SD^tgnon unb ber ^arfner a お tin unregelmSgtged 2)uett mtt
bent l^crglld^jlen 3lu«bnt(fc (angcn.

First appeared in ©djriften, 1789； taken with changes into SBerfe,
181 5, as explained below.

The lines belong at the latest to 1785, and were probably written in
imitation of a Greek epigram translated into German by Herder with
the title, 3)aS (^vah be9 Sanbmannd (Duntzer). The edition of 1815
introduced into the collected works the new subdivision, ^Intifcr ^onn
jtd) lldl^ernb, in which this poem in its present form was given a place.

It is one of those poems of Goethe which show the marks of Greek
or Latin influence. The traces of classic influence go back to the first
days of his literary activity. His liking for the ancients finds expression
early. His admiration for Homer, for example, is set forth at length in
SEBertljcr, In all this Goethe was the child of his times, a participant
in a general European movement. (See notes to Sel. 14 and 22.)
With his intellectual growth, with the throwing off of the literary law-
lessness of his early period, with the keener enjoyment of perfection of
form, there came increased appreciation of the classic spirit. It was
natural that such appreciation shouia affect both content and form of
his poems.

This movement of Goethe towards the antique received vigorous im-
pulse early in the eighties and culminated in the days of his Italian
journey and in the period immediately after his return to Weimar. It
is more evident in other fields of his literary activity than in his poems,
though visible enough there. It was probably the inevitable mode of
development conditioned by Goethe's intellectual constitution, but in
its extreme phase it was a positive injury to his effectiveness as a modem
poet. To most readers , however cultured and sympathetic, the poems
which show strongest this classic influence in content and form are
among the least profitable and enjoyable. The reason is not far to seek.
Goethe was, after all, intensely modem, and to say nothing of the

Sel. 60-62.]

NOTES

219

content, he never learned to use antique forms in German verse with the
naturalness and effectiveness which characterize his better poems in
modem form.

61* ^erfd^iebene C^ttMiftttbttttgett an einem お e*

First appeared in Schiller's 3J?ufenatmanad^ auf bad 3 ゆ r 1*796 ；
taken into S^eue @d)riften, i8oo.

This poem consists of four songs from the first act of S)te ungleidjett
^audgenoffen, ein @ingf^)iet, which was begun in 1785 and not finally
laid aside until several years later, although it remained a fragment.
2)ic ungleid^ett ^audgenoffeu was not published in Goethe's lifetime.
The date of the poem can not be positively determined.

In the operetta the four songs are separated by prose portions. The
scene is the park. Rosette (bctS SD^dbdjen) appears, sings the first
stanza, and after a brief monologue steps for a moment behind a clump
of bushes to regain self-control before her sweetheart appears. There-
upon her lover Flavio (bcr 3ungUng) comes, sings the second stanza, and
finds Rosette. The two converse for a moment but hide at different
sides of the scene as they see the poet (bcr ^d^mad^tenbe) approaching.
He comes up, sings the third stanza, speaks a few words, and presum-
ably withdraws for a moment. After a while Pumper (ber 3ciger)
makes his entrance and sings the fourth stanza.

1. 25. (Su^tf he means a secluded spot.

1. 34. The servant was bringing home the game which the Soger
had already killed.

1. 38. $oge(, referring to the birds caught in his snares in the park,
but perhaps he sees the other persons in hiding and alludes to them
also.

62. (grftcr »ertoft

First appeared in ©d^rlften, 1789.

These lines were intended to form the beginning of the second act of
SDic ungteid^en ^audgenoffen. As in the case of the preceding Selec-
tion, it is therefore impossible to determine their date with certainty.
SDic ungletd^en ^au^genoffen is so fragmentary that its plan is not very
evident, but it may be supposed that matters were more or less out of
joint in the domestic life of the baron and his wife, two personages of

220

GOETHES GEDICHTE. [Sel. 62-65.

the operetta, and that the barooess, to whom these lines are assigned,
K goerag over the happbicss of fonner days.

Fist appeared m Qefaiigf brr ^tcbertafflr i8ii; taken into SEBcrfc,
i8i$.

In czistcDCc before the Italian Jomncy. It b a humorous treatment
of the lound of occapalinns of the poet, with allasion to Diogenes
(vfaom he here, as it woe, makes his patron saint) and his tub. The
oompaiisoo of himself to this woitfay seems to have been common with
Goethe (Riemcr, SRittlKtlniigfB ubfT 9oetSft, II, 543). In the title,
Sfttics means, doings or carrying om^ and gesuiftfl^, as befits a genius,

Fiist appeared in Mrg, ？ itfratur imb X^tfT, 9Ritt^iIuiigen turn
3)r. fBil^Im ^roto. ^^\%, 直 &45.

65. Wmtx aid gmMditftdsMler*

First appeared in き i^nftm, 1789.

It was probably written in the latter months of 1787 or early in 1788.
The poem is mentionea by name, under date of February 22, 1 788, in
3»eiter Suffllt^lt in 9iom. In October, 1787, Goethe spent about
three weeks in Castel-Gondolfo, a village about 14 miles distant from
Rome, as the guest of a wealthy English ait-dealer named Jenkins. He
was delighted with the beauty of the surrounding country, and busied
himself with outdoor sketching. As described in ^Xotxitx Sufettt^It
in dtont, it was here that he met a beautiful Mflanese girl and began to
feel for her a lively affection, when to his consternation he learned that
she was already betrothed. He sought consolation and in his own
words ： tuenbete mid^ abermald rafd^ gu ber in ゆ ifc^en t>emad^t5 ト
ftgten Ianb|(^aftUc^cn SStatox, nnb fiu^te ftc fo treu al9 moglic^ na あ ju-
bUben; me^r obcr gelang mir, ft< bejfer gu fe^cn. • ♦ , unb tc^ tonnte
bem ©c^merj nic^t fcinb toerben, bcr mir ben innern unb augem @inn
in bem (S^rabe ju fd^arffn geeignet ttmr. This episode apparently
called forth the poenu

Sel. 65-68.]

NOTES.

221

1. 3. grott grttttbiert, with a gray ground,

1. II. madyett, play,

1. 18. %t)^)^vSs^^ referring to the mist

1. 35. (afleten, gUize (put a semi-transparent color over another to
modify the effect) •

1. 61 • %t\fi, %VL fommett, bcglnnt ©d^rittc madden, urn l^eranju*
lommen, ober ： itnb fommt l^eran, nmS in ber まり at mit gemeint fd^eint.

(Grimm's SB5rterbud^.) Say, starts,

66* SBed^feKteb yxvx Sanae*

First appeared in ©d^riftcil, 1789*

The time of its composition and the occasion which called it forth
are both unknown.

67* 9tt bte ほ tUfentte,

First appeared in ©d^rif ten, 1 789.

The time and occasion of its origin are unknown. Many conjectures
have been made, assigning it to various periods from the early days at
Frankfort to 1788, in October of which year the volume containing the
poem was in the hands of the printer. Von Loeper has made the
most attractive guess in bringing it into connection with a passage in
Goethe's letter of Sept. 24, 1 778, to Frau von Stein, who was then away
from Weimar ： UbetaU fud^ id^ @ie, bcl る of, in 3 も rem ^auS unb im-
tcr ben お Sumen, aud^ ol^ne e9 miffen, ge り， id^ Return unb fud^e nmg,
unb enbltd^ ！ ommt ，- l^eraug, bag @ic mlr fc^lcn.

68, おゆ e ま ttttg*

First appeared in @d^riften, 1789.

It is presumably of much earlier ongin than is indicated by the date
of puolication, ' but no evidence as yet produced gives the slightest
ground for fixing a date. The theme is the old question whether con-
servatism or radicalism is the better, and the conclusion the old one
that men are not alike.

1. 4. {td^ Jtt trei^en, to let himself drift,

11, 5-6. I.e. shall he take up a fixed abode or lead a wandering
life ？

222

GOETHES GEDICHTE. [Sel, 69-71.

69* ほ ritmenntg*

First published in ©(i^riften, 1789.

Like the preceding Selection, presumably of much earlier origin, al-
though no fact IS known which justifies giving a date to it. It is one of
the best known of all Goethe's proverbial sayings.

70. 究 oMtiff^eS £teb.

First appeared in Schiller's SD^ufenatmanad^ fflr bad Sal^r 1796;
taken into ^tut ©C^rifteit, 1800.

Goethe's interest in the aft air of the diamond necklace which had so
much to do with the fate of the unhappy queen Marie Antoinette, and
in the fortunes of the arch-swindler Cagliostro, led him to begin an
opera, entitled S)ie ST^^fliftciertetl and dealing with the episode of the
diamond necklace. We find it first mentioned in the letter to Kayser,
written from Rome on August 14， 1787. Fragments of this opera, of
which this poem was a part, have been preserved. Later he gave up
the opera and wrote in its stead a play, 2)er @ro§' 货 Op 一, which was
completed in the autumn of 1 791. The new title was due to the cir-
cumstance that Cagliostro had pretended to revive an ancient Egyptian
system of freemasonry, and had called himself, as head of it. Grand
Cophta. The poem was not included in the play, and the exact time of
its ongin cannot now be determined. From Goethe's ^nttaletl we
know that it was set to music in 1 789. The sentiments uttered in the
lines are intended to harmonize with the tone of the opera, rather than
to express Goethe's personal convictions.

1. 5. ^Uttge, the pointer of scales of the type used by apothecaries
must be thought of here. Unless the weights in the pans are equal, the
pointer will, of course, move.

71* ほ tiigramme* 9ettebig, 1790,

First appeared as a whole in Schiller's iUhifenalmanat^ fur bad 3a^r
1796; taken into 92eue @d^rlftcn, 1800, with the addition of one epi-
gram, No. 5 of this collection.

In the spring of 1790 Goethe tarried from March 31 to the latter

Sel. 71.]

NOTES

223

part of May in Venice, whither he had gone to meet the dowager duch-
ess Amalia, then traveling in Italy, and to escort her back to Weimar.
She did not arrive in Venice until May, and to pass the lime of waiting,
among other occupations, he composed a number of epigrams. He
mentions loo on May 4, in a letter to Herder's wife. The word S5cne*
big in the title is therefore justified, as the epigrams were mostly written
at Venice, although a few were of earlier and a few others of later
date.

This is the first of the collections of proverbs, epigrams, etc.,
which appear in Goethe*s works. It is true that some poems of this
character may be found even at an early date in his career, but never-
theless his fondness for this literary type increased with his years and
with the waning of his creative poetical power. The sayings are often
freighted with the rich experience and observations of his long life,
but the lover of Goethe,s poetry may be pardoned, in view of their
number and not infrequent dryness in later years, for preferring his
achievements in other fields to them.

In the so-called 9^dmtfd)e (Stegten, which, however, originated after
his return from Italy, and in these Venetian epigrams, we see the influ-
ence of Greek and Latin literature upon the form and content of
Goethe's work perhaps at its hight. His obligation in the case of
these two collections is not merely the general one that he was permeated
with the spirit of classical literature, but the direct influence of two
Latin writers is beyond question and has to be reckoned with in at-
tempting to come to any proper understanding of this phase of Goethe's
work. In the Roman elegies, from which no selection is given here, he
was most directly under obligations to Propertius, while the Venetian
epigrams reflect not less clearly his interest in Martial.

The tone of the Venetian epigrams is, on the whole, sharp and often
polemic. Some of the reasons for this are obvious. Goethe saw Italy
with far different eyes in 1790 than in 1786. He was now more dis-
posed to censure than to praise, as his letters from Venice show. . It be-
came evident to him that he could not live away from his native land.
Much of this aversion to Italy and affection for Germany arose from the
circumstances of his domestic life. He had entered into his relations
with Christiane Vulpius, for whom he had a sincere affection, and their
first child, the only one to survive the period of infancy, had been born.

i

224

GOETHES GEDICHTE

[Sel. 71.

He yearned for the home circle. And in addition to these reasons, the
epigrams deal with the topics of the day in Italy, Germany, aod else-
where, and he was far from beii^ in sympathy with many of the ten-
dencies of the times. '

The motto was first inserted in the edition of 1815.

1. I. This epigram seems to have been called forth by the general
xnisgovemment of the Italian states. See SeL 70, L 10.

1. 7. Evidently meaning Christiane.

1. II. IBieleil ^al' tdy tierfndyt, the truth of this is abundantly
proved by the testimony of Goethe as well as of otfaeis.

1. 16. fd^tedfiefteit @toff«. What Goethe meant by ©toff has oc-
casioned considerable controverey. Two of the conjectures are worthy
of note : the first understanding in @toff the themes of the Venetian
epigrams, the other the German language. The latter seems much the
more reasonable. It is no new thing for a poet to complain of the dif-
ficulties caused him by his native language. Goethe was probably
thinking of the musical flow of Italian when he wrote the lines. See
also 1. 66.

L 17. This hearty tribute to Karl August first appeared in 9^eue
@d^riften, 1800. In 1789 Goethe apparently prepared a poem in
praise of Karl August, which he intended to place among his Roman
elegies. (See his letters to the duke in May, 1 789.) It has been gen-
erally supposed that thb poem was the one to which he referred. It
may be, but the passage in his letter of April 15, 1790 to Herder, %tx\
^ergog fytf>， id) cin« befonber* gefc^tdt ； bad (agt end) geigen, seems to
confirm the opinion already advanced by Viehoff, that this poem really
originated in Venice and belongs consequently among these Venetian
epigrams.

1. 24. Karl August gave Goethe the ^arten^dudd^en and later also
the house in Weimar where he lived so many years.

1. 28. heiafftt, possibly referring to the fact that @dt} t>on お erH«
d^ingen was printed at his expense. At this time Goethe's works, owing
to defective copyright laws, had not brought him much money.

1. 30. jerr&tteteit &aft, meaning 9B<rt^er*

1. 32. It is stated as a fact that a ship had landed in Holstein in
1779 in the cabin of which were several Chinese pictures on glass de-
picting scenes from SBert^er.

Sel. 71-73.]

NOTES

225

1. 34. ^ttgttft ttttb ^OlaCtUf Augustus and Maecenes, as patrons of
literature.

• 1* 39* 麥] reil^eUSa ゆき el, he was thinking of the leaders in the early
years of the French Revolution. The two epigrams following were also
called forth by thoughts of the Revolution.

1, 51. Goethe had also passed through his time of advocacy of law-
less freedom, as witnessed by his ®o|}.

1. 53. French had long been the language in German court circles.

1. 55. ^pxad^t htX ^vanttn, i.e. the ideas spread through all Europe
by the advocates of the French Revolution.

1. 61. That Goethe was not fond of dogs is shown elsewhere in his
writings, as for example at the beginning of the seventeenth Roman
elegy :

SJland^e %iM finb mir Serbru^/ boc^ bleibt am meifien
^unbegebeH mir k)eT^a|t ； fififfenb jerrei^t e き mein D^ir.

1. 66. See note to @toff, 1. 16.

72* gfent tioit ge^ilbeteit SRe ま est*

Pirst appeared in Schummel's SReife burd^ @d)lcfien tm 3uUu8 unb
31 零 ft 1791 ； taken into SBerfe, 1840.

A product of the trip to Silesia in the summer of 1790. While visit-
ing a mine near Tamowitz Goethe wrote these lines in the Visitor's
Book on September 4.

1. I. fern, because Silesia lies on the outskirts of Germany.

73. 2)ie ^ptbH.

First appeared in Schmieder，s 3oumaI filr X り eater unb anbcre fd^Sne
お flnjh, 1797; taken into Sfleuc ©d^riften, 1800.

Vulpius, the brother of Christiane, translated one of Cimarosa's operas
into German, and it was given at the Weimar theater in 1791 and again
in 1797. On one or the other of these occasions Goethe wrote the two
songs, 2He ^pvoht and 2)ie Scfel^rtC (Sel. 74), for insertion in the
opera. (Sl^ronotogte assigns them to the year 1791, which arrangement
is followed here, although the evidence for either date is not conclusive.
Both songs pertain to the same shepherdess, constrasting her coquetry

226

GOETHES GEDICHTE. [Sel. 73-76.

of the morning with her lovelomness of the evening (probably, how-
ever, the evening of some later day), although the one song is now in
the third person and the other in the first

74. 2)ie »e! ゆ rte*

See notes to Sel. 73.

75. 9tt bie dm^Ut.

First appeared in 9lcuc ©d^riftcn, 1800.

The statement of the Weimar edition that a note book belonging to
about the middle of the nineties contains a draft of the second and third
stanzas of this poem, is the reason for putting it here. No fact of
Goethe's life about the year 1 795 is now known which would stand in
any connection with the poem. In tone and content it seems rather to
belong to a much earlier period.

1. 4. fal^rt, present for the future.

1. 10. i^alh ♦ ♦ ♦ tfoUhvadltf because he has already begun it. This
and the preceding line are a free treatment of the proverb, ^rifd^ ge«
koagt ip ^a(b gekoonnen. But must we think of the lover as absent
from his maiden now, or is he merely vividly imagining all that is given
in the second and third stanzas?

76. mtit M &tlxMtn.

Tirst appeared in Schiller's SJlufenalmanad^ filr bad 3a^r 1796 ；
taken into ^Icuc @C^riftcn, 1800.

This song was called forth in April, 1 795, by a poem of Friederike
Brun and especially by the music to which it had been set by Zelter.
The first stanza of Friederike Bran's poem runs :

3 め benfe betn, toenn fl め tm SSIfitenregen

3)cr Srtii^Iinfl malt,
Unb toenn be§ Sommerd milbaereifter @egen

3n ^^rcn fira^It.

Zelter's melody, in particular, so delighted Goethe that he desired to
fit to it words of his own, and so wrote this poem.

Sel. 77-79.]

NOTES

227

77. 3»eere さ Stitte.

This poem and @lu(f(i(^e ga&rt (Sel. 78) both appeared first in
Schiller's SJlufenalmanad^ fflr bad 3 ゆ r 1796, and were taken into yitnt
©d^riftcti; 1800.

Nothing more is known concerning the origin or occasion of either of
these poems, but they may have been called forth by some occurrences
of his Italian journey.

1. 5. feitte ♦ ♦ ♦ feinCT, these two negatives have merely the force of
one, no wind from any quarter.

See notes to Sel. 77.

1. 4. uoethe seems to have in mind here the bag of the winds given
to Odysseus by i^lus, the god of the winds, which was later opened
by his companions with disastrous results. Hence the use of angfiUd^.

79. 9(ecii9 uttb 2)oro.

First appeared in Schiller's 2JhtfeiiatmaiW め filr bad Sal^r 1797 ；
taken into 9icUC ©d^rlftcn, 1800.

This elegy was written in May, 1796, at Jena at the time of a visit of
Korner and his family to Schiller. The name Dora is a reminiscence of
Dora Stock, K6rner*s sister-in-law, whom Goethe knew in his Leipzig
days. The occasion of the poem is unknown. It was not called forth by
any of Goethe's known personal experiences, but it may contain reminis-
cences of past days (von Loeper) . His longing for Italy seems to have
revived again at this time. For example, he wrote to Koraer on Sep-
tember 22, 1796： SBcnn @ic ble Sb^Hc (meaning 2((c^i« unb S)ora)
^nfang bc« SJlufenatmanad^d f ゆ en, fo gcbcnfen @te jcncr guten Xagc,
in bcncn fic entjknb. It^nlid^c Slrbctten bicfcr %xi ma め en ntid^ ^tcr im
©aatgrunbe ocrgcffcn, bag id^ je お t eigentUd^ am ^rno toanbein foQte.
The poem is justly regarded as one of uoethe's best achievements;
certainly it is the crown of all produced under the influence of strong
classic inspiration.

U. I 一 10 are the poet's description, beginning with the ship already

228

GOETHES GEDICHTE.

[Sel. 79.

at sea and almost out of sight of land, although it is posable to conceive
that even these lines are spoken by Alexis. Then follows in U. 11-154
the monologue of the young lover, while the last four lines of the poem
are again the poet's own.
1. 3. ^eleife^ the word is usually neuter.

1. 9. Me IBerge ♦ • ♦ Me f^eibettbett = hit fd^eibenben ©crgc.

1. 19. btt, referring to Phoebus as sun-god.

1. ai. He means that he will look within, into his own heart, and
think over the past in its relations to Dora.

1. 24. beitt^ meaning himself.

1. 25. あ ifj^ter, as Diintzer suggests, probably an improvisatore, such
as Goethe mentions in 1. 59 of his first (Sptftet, reciting to a crowd
assembled about him a poetical riddle. They can enjoy the skillful
construction of the riddle, but must wait to hear the word uttered which
is the key to all, before they can really perceive its meaning. So he
had daily witnessed Dora's beauty, but it could not really move him,
until Amor made him see.

1. 27. bie • • , $erhtiitifuttg = bie fcltne SSerfnilpfung bcr glcrlid^cn

SBilbcr. Notice also the bold word-order in 1. 142.
1. 42. miegtCf balanced and carried,
1. 44. 9)^a$, the just proportion, say, grace,

1. 46. getittgettei^ Xuil^^ pad placed upon the head to support the
water jar.

1. 53. Uigft, lie, in pretending to look like the sky,

1. 61. tta^Berettet* His possessions were already on board, and the
bundle was an afterthought of his mother.

1. 62. reifl^* Alexis was evidently a young merchant setting out on a
trading voyage.

1. 77. bit mei^ett fjfcigttt* Goethe mentions white figs as a common
fruit in his 3taltenif(^e 9lcife under date of September 12, 1786.

1. 96. bottneirtCr as a sign of Heaven's approval.

1. 135. Here begins the transition in his thoughts which leads to bis
wild outbreak of jealousy. Schiller objected to this tempestuous close,
and Goethe defended it in his letter of June 22, 1796: gilr bie ほ ifer-
fuc^t am (Snbe ^abe ic^ ixotx ®runbc. @inen aus ber 9^atur : toeil
kotrfUc^ jebcS unemartctc unb untcrblcntc tebedgliicf bic gurd^t bc«
SSerlufle« unmtttelBar auf bcr gcrje nad^ ftd^ ffl り rt, unb cinen au9 ber

Sel. 79, 80.]

NOTES.

229

jhtnfl : koeil bie 3 ゆ He burd^aud cinen patl^etifd^en ®ang l^at unb alfo
bctS Seibenfd^aftttd^e bi« gegen bad (Snbe gefleigcrt locrben mugte, ba fic
benn burd^ bie ^bfd^iebdoerbeugung bc« 2)l(i^ter« mleber ind SeibU^e

unb $ettere gurilcfgefii^rt koirb. His first reason means that calm con-
fidence would hardly be in place in Alexis. Dora's love has been re-
vealed to him so unexpectedly and suddenly that away from her he
naturally has moments of doubt and jealousy.

80, Xettiett*

Irritated by the ill-success of Schiller's periodical ！ IDie る Oren, for
which Goethe also wrote, and vexed by all sorts of petty and malicious
attacks upon the periodical and upon themselves personally, Goethe
and Schiller began in the last days of 1795 the preparation of a collec-
tion of epigrams directed against their enemies. The number grew
rapidly, amounting eventually to almost a thousand, among which were,
however, many of peaceful tenor. After several changes of plan, a se-
lection of these epigrams was published in Schiller's SJlufenalmattad^ fflr
bCid 3(1 り r 1797, the invectives appearing under the title Jtenien, and
the mild distichs as Tabulae Votivae, The first title was suggested
by Goethe. He borrowed it from Martial, one book of whose collected
epigrams is called Xenia (a word borrowed from the Greek and mean-
ing a present to a guest).

On their appearance these epigrams caused a great sensation in Ger-
many and provoked many replies and bitter controversies. Like all
literary feuds they are not very interesting to posterity. Without the
aid of copious notes the point of most of them is lost for the reader of
to-day, and it is hard to understand how they could have ever seemed
very dreadful. They are chiefly significant to us as one of the many
evidences of the great stimulus which both Goethe and Schiller received
from their tardy but warm friendship.

It was the intention of both poets that the authorship of the individ-
ual epigrams should remain unknown. In the case of many their col-
laboration was such that neither could say certainly what part was his.
The question of the authorship of many of the epigrams can therefore
never be settled positively ； others can be assigned without much doubt
to one or other of the poets. In general, it may be said that most of

230

GOETHES GEDICHTE. [Sel. 80, 81.

the sting of the epigrams was due to Schiller. Although Goethe orig-
inated the idea and was more willing than Schiller to make a second
attack, his 3Eenten are generally milder and less pointed. A few of the
epigrams which may be assigned to Goethe with considerable certainty
are given here as representative of his share in the joint work.

1. I. Directed against Lavater for whom Goethe had earlier felt a
warm friendship fer several years and who never deserved the reproof
of this epigram.

1. 3. Directed against Joachim Heinrich Campe, who did much to
lessen the overabundant use of foreign words in German, although his
zeal led him too far at times.

1. 5. Goethe's opposition to Newton's theory of colors finds expression
here. Goethe was always extremely sensitive that his own theory met
with so little recognition, and bitter in his comments.

1. 6. gebrufft, i.e. in Goethe's ^ettrdge gur Optil, published in
1791*

1. g. This and the following epigram did not appear in Schiller's
S)?ufenahn(tna(i^, but belonged to the mass of unpublished materials
which has now been made known in ©d^riftcit bcr ゆ e-@efellfd^aft,
Vol. 8. The first of the two expresses clearly a fundamental principle
of Goethe's art. His ability to see tnings as they are justifies calling
him the great realist, although he was far from belonging to what is
called the realistic school.

1. II. Directed against Nicoiai, who had been the friend of Lessing
and had done some good service for German literature in his younger
years, but had incurred in his old age the dislike of Goethe and others ；
bent @be(n is Lessing.

81» 2)er (S^l|inefe in 9iom«

First appeared in Schiller's SJlufenatmanad^ fiir bad 3a^r 1797；
taken into SBerfc, 1806.

Goethe inclosed the poem in his letter of August 10, 1796, to Schiller,
stating that it was called forth by some " arrogant utterance " whicn
Jean Paul Richter had made in a letter to Knebel, and that he was wil-
ling to have it printed in the ^Imanad^ over his name. It may be said
in passing that many of Goethe's contributions to the ^Intanad^ ap-

Sel. 81-«3.]

NOTES

231

peared over a pseudonym. What Jean Paul said to call forth Goethe's
ire is unknown. The characteristics of the two men, as well as their
theories and practice in literary matters, were radically different. The
mental attitude of the Chinaman of the poem applies not inaptly to
Jean Paul.

I. 2. IfifHg, probably wei^Uy here, about synonomous with fd^tDer.
The buildings at Rome seemed to the Chinaman very different from the
light, airy structures of his own country.

First appeared in Schiller's SJlufenalmanad^ filr bad 3o^r 1798；
taken into S^ieuc ©d^nftcn, 1800.

It was apparently written in the latter part of May, 1 797. On May
21 occurs the entry in Goethe's diary : ^rtige 3bce, bag ctn ^inb eincm
©d^a^graber cine teud^tenbe ©d^ale bringt. A picture in a German
translation of Petrarch may have given him the idea (Diintzer.) His
diary mentions Petrarch at the time. This is one of the most pleasing
of Goethe's ballads.

II. 3-4. He thus spoke to himself before he made the contract with
the Evil One.

1. 7. These are the words of the compact by which he gives up his
soul, if aidea to find the hidden treasure.

U. 9— II. The circles, flames, etc. pertain to the incantation. 一
^aut Ultb ^0 ゆ ettWerf, herbs and bones.

1. 21. Literally, and then all preparations were of no avail. The
coming of the boy was so sudden and unexpected that all precautions
would have been useless, even if he had been the Evil One.

1. 27. む attfe さ, explained by 1. 33 below.

1. 33. The last stanza is spoken by the boy. 一 3Rttt be さ reittett fie=
Bettd, desire to live aright

83. «tt 輝き •

First appeared in iBrtcfmcd^fct gtotfd^en ©driller nnb @oe ゆ 1829;
taken into ^^ad^gelaffene SBcrfc, 1833.

As the title explains, sent as a letter to Schiller.

232

GOETHES GEDICHTE. [Sel. 84, 85.

84. 2)er <3まま4ま3»

First appeared in Schiller's SJhtfenaltnanad^ filr ba9 Sal^r 1798;
taken into 9^eue ©d^rlften, i8oo.

The ballad was written in the spring or early summer of 1797； it
certainly existed before July 19, when Goethe mentioned it in a letter to
Bottiger. The source is Lucian's も ihnjjevdffc (Siigenfreunb, in Wie-
land's translation), which was doubtless also known to Goethe in Wie-
land,s translation of Lucian. There Eucrates tells of a journey in
Egpyt with the Egyptian priest Pancrates. They traveled without ser-
vants, and whenever they needed service, Pancrates would transform a
broom or whatever else was at hand into human form, make it do
whatever was necessary, and then turn it back into its original shape.
Eucrates learned the formula secretly ana m the temporary absence of
Pancrates turned a wooden pestle into a water-carrier, with results like
those mentioned in the poem. Goethe therefore borrowed the theme,
but his changes in the details and in the whole manner of treatment in
turning it into a ballad are very successful.

I. 5. SBort\ SBerle^ and お raiUl^ (1. 6) refer to the magic formula
by which the master makes the transformation.

II. g-14. These are the words of the formula which the boy repeats
to make sure of them.

1. 13. S^tUaffe, here referring to the quantity of the water; say,

stream, Bowring translates the line, " and with teeming waters."

1. 41. e さ is explained by 1. 42.

1. 5a. laffett, all 亂 Contrast with Ittffett, stop, of 1. 66.

1, 54. The transformed broom eludes his grasp.

1. 74- S^ftrfe, (^cutting) edge,

85. 2)er ^unggefett uttb ber 现 iU^ も a 咏

First appeared in SchUler's 3RufenaImanati^ filr bad 3 ゆ r 1799;
taken into 9^cue ©d^riftcn, 1800.

In the autumn of 1 797 Goethe went to Switzerland. One of the re-
sults of this journey was a series of four ballads, dealing with a SSSi^t*
rtn, who is, however, not the same person in all four. %tx SunggefeS
unb bcr 现 d&lbctd^ is noticeably the best of the series and is moreover

Sel. 85-87.]

NOTES.

233

one of Goethe's most charming ballads. It seems to have been com-
pleted at Stuttgart on September 4, 1 797, as Goethe was on his way to
Switzerland. In his letter of August 31, 1797, to Schiller, he wrote :
WlvL^ id) 3&nen fageti, bag ゆ untcrtoegcd auf cin poetifd^eS ®cnre ge«
fatten bin, in meld^em xoiv fiinftig ntcl^r madden mitgen . . . @g fmb
@ef や rilij^e in Siebertt. ♦ ♦ パさ lagt ftd^ in bicfer gorm mand^es fagcn,
man mug nur erfl ^inclnfommcn unb bicfer %xt t^r @igent^utnlt(^ed
abgeminnen. 3 ゆ (|abe fo cin ©efprdd^ gmifc^en elnem 虎 naben, ber in
einc WlnUtx'm Ocrltebt ip, unb bcm 'SfUXljlhad) augefangen unb ^offe ed
bafb in iiberfd^icfen. S)a8 が oftifd^'tro や ifc^-allegorif め e tvixh burd^
bicfe SBenbung Icbenbtg, unb bcfonber« auf ber 9lcife, ttJO eincn fo
Dictc ©egenfianbe anfprcdjen, ifl eS etn rcc^t guted ®enre.

1. 9. gefa^t, inclosed, wallea tn, so as to make the mill-race (J&Xd*

Ben).

1. 15. ^&lutf here meaning a person, y^/Z^w.

86» Sf^toetaerallie*

First appeared in Schiller's SJlufenalmanac^ filr bad Sol^r 1799；
taken into SBcrfe, 1815.

Also a product of the Swiss journey, having been written on October
I, 1797, at Alton in Canton Uri. On that date his diary has the entry:
SCltorf. dlegentoolfeit; ^tht\, @ め nee auf ben nad^pen ©ipfeln. The
sight of the snow which had fallen on the mountains overnight called
forth the poem. It seems to be a lament over the approach of old age.
The singular of the word (e) means a high mountain and, m Swit-
zerland, particularly one adapted for grazing.

1. I. ber SieBett, meaning (Sl^rlfliane.

1. 6. betoeglifl^, say, vivid. He means a dream full of changing in-
cidents.

87. 2)ie 9^fagetett.

First appeared in Schiller's SJlufenalmanad^ filr bad 3a^r 1799;
taken into SBcrfc, 1806.

According to the testimony of Goethe's diary the poem was written at
Jena on June 16, 1798, and is doubtless based on personal experience,

Musaget, referring in the first place to Apollo as leader of the
Muses; the special meaning here is shown in the last lines of the poem.

234

GOETHES GEDICHTE. [Sel. 87-89.

1. 6. fnratm, al9 ben fru^n ^ottern getoei^t. (v. Loeper.)

1. lo. bnitt)lfr dill" heavy.
1. ao. bel|tttett, prolonged.

1. 22. £ie(* Goethe was earlier very fond of the word in such con-
nections. It is often so nearly without meaning as used in colloquial,
idiomatic German that it is best omitted in translation.

88. «tt bie 柳 ttfHgeit*

First appeared in S^icuc ©d^riftcn, i8oo.

Written in 1 799 as a sort of poetical preface to the lyrics published in
9^?CUC ©d^rtften and addressed to the " gentle reader." In editions of
Goethe's works it now stands in the second place among the lyrics and
with the poem ^Otffage, which there precedes it, and the motto (Sel.
110) it still serves as the preface to the lyrics, while 3u€ignung is the
poetical preface to the whole of the works. (See notes to Sel. 56.)
The first stanza explains humorously why poets have to rush into print.
The second states that the lyrics, as has so often been mentioned in these
Notes, are the expression of his own experiences and emotions. As we
have already seen, this statement must be taken with qualifications. Not
all of the lyrics, to say nothing of ballads and other poems, found their
basis in his own life. Nevertheless the statement is essentially correct.
(See Introduction.)

1. 5. fttll 9iofa, in secret,

89. gfriilljeitiger gfrfi^Uiig.

First appeared in Wieland and Goethe's 2^afc^enbud^ ttuf bad 3a^r
1804 ； taken into SBcrfc, 1 806.

Presumably a product of the early spring of 1801 when Goethe spent
several weeks at his country place near Weimar, which he had purchased
in the spring of 1798. Convalescent after a severe illness he went out
into the country with his family towards the end of March and found
the weather pleasant. The poem was in Zelter's hands early in March,
1802.

1. I. SBotttte, caused by the return of spring and probably intensified
by the recovery from serious illness.

Sel. 89, 90.]

NOTES.

235

1. 31. Note the closing lines of 3ltcjri« unb 2)or(l (Sel. 79).

1. 33. In the closing stanza comes the poetic explanation that the
rapture of spring is after all due to the presence of the sweetheart
Note also ST^ailteb (Sel. 9), particularly the last four stanzas, for a
parallel.

90. (SiPferg magelieb.

First appeared in Wieland and Goethe's S^afd^etlBud^ auf bad 3 き
1804 ； taken into SBerfe, 1806.

This poem is also presumably a product of the spring of 1801, and it
was also in Zelter's hands in March, 1802. As remarked by Bieder-
mann and others, it was evidently suggested by some お olMieb. From
the period at Strassburg with Herder, and probably even before that
time, Goethe had felt strong interest in the SSotfSltcb, an interest to be
traced in many ways in not a few of his own poems. His sympathy for
this natural poetry of his people never left him, in fact, but now at the
beginning of the new century his extreme predilection for classic theme
and form had spent its force, and he had already returned to a more
sympathetic attitude towards things German and modern. At this time
the literary public was beginning to find the ^otfSlieb again worthy of
its attention, and it was only to be expected that Goethe, whose natural
inclinations and revived sympathies so disposed him, should fall in with
the popular movement.

The direct influence of the お 訓 ieb upon individual poems of Goethe
is manifested in various ways. Sometimes he imitates only the general
tone; at others, starting from a line or a stanza, he makes a new poem,
often with similar, often with very dissimilar, contents; at other times,
as in the case of ^eibcnroStcin, for example, he borrows both tone and
contents, and his part consists in the refinement of word and sentiment
and of the general artistic treatment. @d^afer9 ^lagetteb belongs
rather to the second category.

1. 5. folg^, i.e. as they go down into the valley, he follows uncon-
sciously, being lost in melancnoly thoughts.

1. 17. S)cr Stegcnbogcn ifl filr ゆ n fetn grieben9bote. (Duntzer.)

1. 18. tonffif as often in the S3o(f8ticb, is of so little meaning here that
it may be omitted in English. It is frequently used very much as " I
ween ，' in English ballads, apparently doing little more than to fill out
the line. It could possibly be rendered by directly here.

236

GOETHES GEDICHTE.

[Sel. 91

91. 糊 lieb*

First appeared in Wieland and Goethe's Xafd^enbud^ auf bad 3a^r
1804; taken into SBerfc, i8o6.

In the autumn of i8oi Goethe established the so-called 9)>Uttn)0(j^S-
frangd^en, a small circle or club of fourteen members in all, which met
at his house once a fortnight. Its meetings continued till the spring of
i8o2. For this little circle he wrote several of his poems which now
appear in the editions of his works, together with others of earlier and
later origin, under the general heading of ^efettige ？ icbcr. (For a very
interesting account of the origin and character of this circle by one of
its members, Grafin Egloff stein, see the article, Goeth^s Cour D， Amour,
in Vol. 6 of @oe ゆ e-3ct&rbU(i^,) Stfd^Iteb was written for the meeting
of the circle on February 22, 1802, as is shown by the correspondence
between Goethe and Schiller on February 17-20 of that year.

1. I. This stanza was suggested by the second stanza of the Latin
song, Meum est propositum in taberna mori、 long popular as a student
song. The stanza runs :

Poculis accenditur

Animi lucema,
Cor imbutum nectare

Volat ad supema.
Mihi sapit dulcius

Vinum de taberna.

1. 14. ゆ tt， a lie fJfSl^Tbe, without d"dt、 in all sincerity. •
1. 21. @ttte gftettttbe jiel^ett fort. Prince Karl Friedrich of Wei-
mar was about to depart for Paris, and this meeting of the circle was
called to bid him farewell. He was present as the guest of honor.
Goethe had been at Jena for several days, when the idea of this
special meeting of the circle in view of the departure of the prince, was
broached to him by Schiller, then at Weimar. He at first refused but
finally consented to return to Weimar and to have the meeting at his
own house. It is possible that only the third stanza was written for this
special occasion and that the rest of the poem had originated a few days
earlier at Jena, when Goethe had no thought of attending the meeting.
It may be observed that the rime scheme of this stanza is different from
that of the others.

8el. 91, 92.]

NOTES.

237

1. 22. Before the introduction of the metric system the ST^eile was
used as a standard of measurement. It varied somewhat in different
parts of Germany, but was roughly about five of our miles.

1. 25. After the allusion to the prince follows a series of toasts to an
ever-widening circle. This stanza toasts the ruler, here called ^otltg.
The original version seems to have had a more direct allusion to Karl
August.

1. 32. fOltilt tto ゆ, tote tt mel|re, apparently an allusion to the trans-
lation of Augustus of the imperial German title by Wlt\^Xtx (augmen-
tor) and possibly a veiled compliment to Karl August.

1. 33. This stanza toasts the sweetheart of each one present.
1. 45. ber 9ltM, genitive plural.

1. 49. fRxtitttf because he is including more in the toast.

92. 9iahtr nub Shinft, fit fdieitteu {t^ f{iel|ett*

First appeared as part of SBag toiv brtngcn, SSorfplct Bel Sroffnung
bed 細 en ©c^auf や ie ゆ aufeS gu Saufd^fiabt; 1802； taken as a separate
poem into SBerfe, 1836.

The theater at the little resort Lauschstadt, not far from Halle, was of
importance, financially and otherwise, to the Weimar troupe, and Goethe,
to whom the chief direction of theatrical affairs at Weimar had been
given, finally succeeded in Having the poor structure at Lauschstadt re-
placed by a better. The opening of the new theater took place on
June 27, 1802, and Goethe wrote for it, SBaS tvix brtngett. The son-
net, which may have been written earlier, stands at the close of the
nineteenth scene, being spoken by the nymph. It is immediately pre-
ceded by the words r

3m ©tnne fc^mebt mtr etne§ ^ic^terd alter @)mt も,
S)cn man mi(^ le\)xie, ol^ne ba^ i も ゆ n begriff,
Unb ben \^ nun toerjle^c, er tnic^ begluift.

Primarily the apparent conflict of nature and art was intended to refer
to the form of the sonnet, and ber ^ibetkoille of 1. 3 finds its explana-
tion in Goethe's formerly expressed aversion to such artificial verse.
(For a discussion of Goethe's relations to the sonnet, see notes to Sel.
98.) But it is nevertheless true that the poem expresses with equal
clearness Goethe's views of the relation of nature and art. The change

238

GOETHES GEDICHTE. [Sel. 92, 93.

from the opinion, held in the days of @3 お and SBcrtl^cr, that genius is
a law unto itself, to the convictions uttered in U. 12-14 is almost startling.
It is a complete intellectual revolution. The thought that only law can
make us free is a summary of the results of that long process of educa-
tion which we have traced from Strassburg to Frankfort, from Frankfort
to Weimar, from Weimar to Italy, from Italy back to Germany.

1. 10. UttgeBltnbene, i.e. lawless^ without self-restraint ; contrast with

fi^ anfammettraffen of l. 12.

93. $ 傘 ftlieb*

First appeared in Wieland and Goethe's S^fd^enbud^ auf bad 3a^r
1804； taken into SBcrfc, 1806.

The ballad was sent to Zelter with the letter of December 6, 1802.
It was apparently begun in the preceding February; at what time be-
tween that month and December it was completed is unknown. The
outline of the poem was doubtless suggested by some legend. A similar
story is told, for example, in S)eittjd^e @agen, issued in 181 6 by the
brothers Grimm, under the title, S)c« Keincit S5oIIc« ^od^geitfcfl, but
having a different conclusion. When and how uoethe became ac-
quainted with the legend is unknown. According to his own statement
this was one of the themes which he had carried in mind for many
years. As happened in other cases, some outward occasion, to us un-
known, caused it to crystallize into a ballad.

The whole poem is put into the mouth of an old servant who, on the
occasion, of the marriage of the present count ((Stlfet of 1. 3) tells of an
experience of a former count (®raf of 1. 1)， long since deceased (bcS
feligen $crrn of 1. 3), who on returning from one of the crusades found
his castle deserted and much fallen to decay.

1. I. {tttgett unb fagett^ a survival of the old alliterative formula per-
taining to the two phases of the poetry of the medieval German min-
strels and to the manner in which it was brought before their hearers.
The words do not differ especially in meaning here.

1. 6. 3tt ほ <|Wtt geftrtttett, fought and won honor. 一 mattltigeit,
instead of maitd^ett.

1. 10. This stanza is put into the mouth of the count.

1. 11. fll^UtltltteT, i.e. worse than foreign lands, or possibly, worse
than he had thought, as Strehlke suggests.

Sel. 93, 94.]

NOTES

239

11. 21-22. Again words of the count.
1. 24. %mptl, lamp,

1. 37. The three horsemen, who have been waiting under the bed,
ride out at the head of the bridal procession.
1. 42. f ♦ ♦ ♦ お, both • • • and,
1. 46. ttlCe さ, every one. Notice also btt さ of 1. 62.

1. 51. nttgdt and the other verbs in this line all refer to the dancing.

1. 52. や if や ert, which is synonomous with ffilpcrt, and the other
verbs in this line refer to the talking of the little guests.

1. 55. bo^l や ett ，さ, there is a hurrying about, 一 ro^^elt is synono-
mous with 沖 ett, and both refer to the noise of the benches, etc.
The dwarfs have stopped dancing and begin their banquet.

1. 65. XoBett Uttb Xofett, i.e. of the present feast at which he is
singing the song. With^the next line the recital returns to the former
count.

1. 69. (rfiutU^et S^tOalCr he means numerous wedding-guests.

1. 70. neigett おゆ, i.e. to the former count, just as others are doing
to-day at the marriage of his descendant.

94. あ er 9iattenfSnger«

First appeared in Wieland and Goethe's Xafd)enbU(i^ auf bad 3a^r
1804； taken into SBcrfe, 1806.

The time of its origin is uncertain. Riemer states (SJ^ittQetlungeit II,
620) ： (Seiner programme gu ^inbcrboHetcn erkoa^nte ®oct^c mel^r*
mats gegen mid^, au9 bcr fril^ern S^l^eatcrgctt oon お ettonto unb SKoreiti,
. . . ein anbered (mar) ber 9lattenf anger ； au9 iDcId^en nod) bie 9?o-
manje : ,,3 ゆ bin ber mol^tbefannte ©anger, «. f. to." fid^ erl^atten l^at,
Riemer's notice might refer to a troupe playing in Weimar between the
years 1784 and 1791, or to another in the years 1 801-1803. The theme
is the well-known story of the pied piper of Hamelin, who cleared the
old city of rats, but being refused his pay, enticed all the children of the
city away with his music and never returned with them. (See Brown-
ing's Pied Piper of Hamelin^ Goethe, however, treats the theme very
differently.

1. 13. no^ fo trit^ig (instead of tro お ig), ever so defiant.

1. 14. fht お ig, stubborn.

240

GOETHES GEDICHTE. [Sel. 95, 96.

95. »ergfil4(0t

First appeared in Wieland and Goethe's Stafc^enbud^ auf bad 3 ゆ r
1804 ； taken into 2Bcrfc, i8o6.

The exact time of its origin is unknown. It was presumably inspired
by a ruined castle near Jena and by Sylvie von Ziegesar with whom
Goethe stood on terms of intimate friendship. " Sylvie von Ziegesar, her
songs, her guitar, the ruins of the castle, formed a poetic whole " (von
Loeper, who assigns the poem conjecturally to i8oi). Sylvie's friend
Luise Seidler wrote later (as quoted by von Loeper), referring to the
days together at Jena, but apparently not thinking of the poem : おり レ

toicn« ©uitarrc (eifietc ©efcUfd^oft ； ゆ re Sicber tontcn im SBettjlrcit
ntit jenen bcr ©anger bed 2Balbe8. 2)ic ^Benbe terlcbten h)ir ^auftg
in bcr 9?uinc ？ obcba, fallen ton ba auS bte iBcrgc im ^benbgolb leuc^ten
unb liegeti iing ton ben ©terncn l^eimleud^tett. The situation is es-
sentially that of the poem. The poet sees the ruins of the castle and calls
to mind those who formerly peopled it. The sight of his sweetheart, for
into such he has with poetic license transformed his youthful friend
Sylvie, suggests the remainder.

1. I. See the beginning of Schafers ^lagelteb (Sel. 90) and the
notes thereto.

1. 15. l|eUigett ^af^lt, holy Communion,

1. ig. Contrast fliill^tig here and in the next line with the behavior
of hero and heroine in 11. 51-52. The ^filtl is, of course, a kiss.

1. 24. tiermanbt = わ erttmnbelt.

1. A?. ほさ JCttgtC, acted as witness (of the marriage ceremony) .

1. 46. fHttett tttte さ tierlor, everything quietly disappeared. He
means that the vision has disappeared and the actuality returned; the
castle is once more a ruin, he is again a man of the present world and
she his sweetheart.

1. 51. A humorous contrast to 1. 20. No hasty kiss this time,

96» Vanitas ! vanitatum vanitas I

First appeared in SBcrfc, 1806.

The poem was written early in 1S06 and was apparently begun as a
parody of the first stanza of an old hymn beginning, l^a6， ntein <Sac^

Sel. 96, 97.]

NOTES.

241

®Ott l^etmgefleQt, and with use also of an old saying, SBer feiitc <3a ゆ，
QUf nid^t§ Peflt, bcm fann C8 m め t fcl^lcn. Compare with this the com-
mon parody oi one of the beatitudes : " Blessed is the man who ex-
pects nothing, for he'll not be disappointed." The title was suggested
by the Latin version of th'e well-known passage in Ecclesiastes. Goethe
seems to have sought refuge from the distress of the time, as at other
periods in his life, by busying himself with poetical themes of a very
different tenor.

1. I. I have staked my all {my cause) on nothing, or / have set my
heart on nothing, Sadft seems to be here the neuter in a collective
sense.

1. 7. ^tV^tf commonly "dregs" or " remnant." We might say here,
these last drops,

1. ig. ま dl, say, partner,

1. 24. お dte れ Uttb さ dtt, in leaving his country he also left its ways,
manners and customs behind him, and could not get used to what he
found in other countries.

1. 28. tlCtftatlb Ittid^ Xt^Xf because he could not speak the language
of the foreign country well.

1. 41. The line is obscure, but he seems to mean that the army to
which he belonged maltreated both friend and foe impartially.

97 ♦ 现 e 卿 ゆ さ fpti^t

First appeared in 9iil(fbU(fc in mcin Sebcn. bcm ゆ Uiffe Don

![!uben, 1847. Luden was professor of history at Jena. After his
call to that university, and before he had entered upon his duties, he
made a visit to the little city and was given two interviews with Goethe,
on August 18 and 19, 1806. At the second of these Luden remarked
in the midst of a conversation about history, that it was the hardest of
all studies. To this Goethe replied, as quoted by Luden : bicfcr

9J2cinung ftnb @ie tvo^i gunad^fi gefommen^ Weil @ic fi ゆ am nteijlcn
ntit bcr (3e\d)id)te befd^dftigt l^oben. SBcirc 9J? ゆり ijlo や!^ deS gegen-
njfirtig, fo tvuvbe ev ettva folgenben ^niittclrelm や a ゆ ettf ゆ l^crbefta*
micren. Then he recited this poem. The conversation had been about
gaufi a few moments before.

242

GOETHES GEDICHTE.

[Sel. 98.

98. mmti%t» d(erraf4en.

First appeared in SBcrfc, 1815.

The question whether the sonnet has a legitimate place in German
poetry had arisen once more about the beginning of the present cen-
tury, and the poets of the time were by no means of one mind in their
views or practice with reference to the subject of controversy. Al-
though he had already made some small use of the sonnet, Goethe's first
feeling seemed to be one of hostility, finding expression in 2)aS @Oltett,
which was presumably written about 1800, and of which the concluding
lines run :

9lur toe 玲 id^ ^ter mi (！^ tit (！^ t bequem gu bettcn,

fd^netbe fonjl fo flern auS ganaem ^olge,
Unb mfi^te nun bod^ au も mitunter tetmen.

Be that as it may, the sonnet 9^atur unb 及 imft, ftc fci^einen ftd^ gu flic*
l^en (Sel. 92), recognizes fully the worth of this form of poetry.

Here the matter rested, so far as the actual composition of sonnets
was concerned, until November, 1807, when several influences working
tc^elher led the poet to write in the next few weeks, at Jena and at
Weimar, a series of 17 sonnets, which were first published in the year
1 81 5, with the exception of two which were not added to the
works until 1827. These influences were : The publication at Jena of
a uerman translation of Petrarch, the great Italian master of the son-
net, with the consequent revival of Goethe's interest in this poet ； the
presence at Jena of Zacharias Werner, who read his own sonnets to
Goethe and apparently called forth a friendly rivalry on the latter's
part; the visit or Bettina Brentano at Weimar only a short while be-
fore Goethe's going to Jena; Goethe's interest in Minna Herzlieb, the
foster-child of Frommann, who published the translation of Petrarch and
in whose house Goethe and Werner frequently met.

How great the influence of Bettina and of Minna was, is at present
hard to decide. It seems probable, however, that Bettina's role was
unimportant and Minna's commonly much overestimated. Although
Goethe himself said later that he had once loved Minna more than was
fitting, it is reasonable to suppose that his love for her was not great,
while she certainly had no other feeling than respect and admiration for
her elderly mend. Goethe's affection for her must have been mostly

Sel. 98, 99.]

NOTES.

243

professional; he was writing sonnets in friendly rivalry with Werner;
to correspond with Petrarch's Laura he needed a sweetheart; he was
meeting frequently in her own home a pretty young woman whom he
had known as a child; with his ever great susceptibility to feminine
charms a mild affection for her was the natural result.

That Goethe's feelings were of such mild character seems to be made
evident by the sonnets themselves. They do not seem to speak the
language of hearfelt emotion. They are at times obscure and frequent-
ly unnatural in thought and expression. They lack the best qualities of
Goethe's management of rime and rhythm. After the writing of this
series, Goethe's interest seems to have ceased. The score or so of son-
nets which appear in his collected works help in no way to increase his
fame and may be regarded as one of the least successful phases of his
poetic work.

SRdd^tige さ ftHetraf^en, depicts, under the figure of a stream, a
man, probably the poet himself, suddenly seized by an overmastering
passion for a maiden. 一

1. I, untttiolltctl, because its source is in the mountains.

1. 3. Hon ^ruitb き it ^rilnbett, from vale to vale、 that is, on its
course downward. The stream was rushing on to the ocean like a
man intent in carrying out his purpose.

1. 7. drea さ, the mountain nymph. The stanza represents figura-
tively the sudden love of the man by which he is held back from the
accomplishment of former purpose and made to look inward.

1. 8. ^t^tXt^ apparently the bed of the stream, dammed up by fal-
len trees and rocks; say, basin,

1. g. 游 ctte, meaning the stream.
1. II. お ater, i. e. the ocean.

99, き Stelienbe abenim お.

History of origin and publication the same as for Sel. 98.
Possibly an echo of Bettina's enthusiastic adoration of Goethe and of
her letters to him.

1. 9. mag, can.

1. 14. in fic^ Hottenbet, i. e. her feelings were too deep for words;
the presence of her lover was the crown and completion of all.

244

GOETHES GEDICHTE. [Sel. 100-101.

100, さ ^iammhn^ ber lOifil^rigeit お ett ゆ n iPon Sober.

Cited in the first volume of d^ront! be9 SBiener ®oetl^e- お ereiiiS, 1887,
which also explains that Bertha von Loder, who was about ten years
old at the time of the writing of these lines, married a von Liitzow in
1820 and died in 1844. She was the daughter of the anatomist Loder.

The lines are given here as representative of the lai^e number of po-
ems written in autograph albums or otherwise addressed to persons.
Their number grew with Goethe's increasing fame. Many of them
were, as a matter of course, more or less perfunctory; on the other
hand some may be counted among Goethe's most successful achieve-
ments.

101. Ergo bibamus.

First appeared in ©efange ber ？ Icbcrtafel, 181 1; taken into SSerfc,

In Goethe's garbettie^re (II, 192) is the following passage : 'ほ g
ffiflt un9 bci biefcr ©degcnl^eit ein, bag Safcbott), bcr tin parfcr Srin-
fcr toax unb in feineit be 卩 en 3al^rcn in guter ©cfcHJc^aft cincn fcl^r er-
frcuUc^cn §umor geigte, jtetg gu bel^cm や ten pflegte : bie ^onflufton ergo
bibamus や affe gu alien ^ramiffcn. ほさ ift fd^du SBcttcr, ergo bibamus /
ほ 8 ijl ein l^dglid^er Xag, ergo bibamus ！ SBlr Jinb unter greunbcn,

ergo bibamus ！ @9 jlltb fatole SSurJcl^C in bcr @efeflfd^aft, ergo biba-
mus ！ (For further account of Basedow see notes to Sel. 19 and 20.)
This passage and a conversation about it led Riemer (as related in his
^rocarbtCQ ) to compose a drinking song with the words Ei^o bibamus
as refrain. Riemer's production stimulated Goethe to write this poem
in March, 1810. In it Goethe carries out in considerable detail Base-
dow's contention that Ergo bibamus is befitting in all circumstances.
1. 4. Heliet^igt, take to hearty consider,

1. 6. %vm ^rftetl fort, i.e. it will do for firstly, secondly^

etc,

1. 21. f^motgt, saves in a niggardly way. No matter how much
the miser saves by undue economy in eating, drinking, etc. (Hons
SeiBe), the joyous man is always cared for.

Sel. 102-104.]

NOTES

245

102, 脑 mengrit お，

First appeared in SBcrfc, 1815.

The poem was given to Zelter in the summer of 18 10 and set to
music by him. The circumstances and date of its origin are unknown.
Internal evidence makes a date much earlier than 1810 seem reason-
able.

1. 6. ttlie, say, how many,

103. aRailieb.

First appeared in SBerIc, 1815.

It was set to music by Zelter in October, 18 10, and may have been
called forth by Goethe's journey to Bohemia in May of that year, al-
though a much earlier ongin seems not improbable.

1. 2. ^edfen unb ^orn, possibly meaning together hedges of thorn,
but more probably ^ecfett and 2)orn are contrasted as ^eigen and
及 ont, bourne and @ra8. " Between hedgerows and thorn." (Bow-
ring.)

1. 8. ^olbd^etl, meaning his sweetheart.

104* $)ic £uftigett Hon SB お mar»

First appeared in SBcrfc, 1815.

Written on January 15, 1813. 2)ic ？ ufUgen to whom he referred
were his wife and her intimate friends. She was particularly fond of
dancing. The poem gives a humorously overdrawn picture of the so-
cial activities of the inmates of his house.

1. I, 93clll6bete, a ducal castle near Weimar.

1. 5. Possibly he means that they look forward to (lit., "aim at ")
Saturday as the end of the week and its cares (33Iumc), or he may be
thinking of Saturday as the day of a ball and concert at Jena, as com-
mentators commonly suggest.

1. 7. Places near Jena.

1. 8. On Monday and Wednesday evening the theater at Weimar
was open, as also on. Saturday.

1. Z2. 9{atmfd^d^ett, a game of cards.

246

GOETHES GEDICHTE. [Sel. 104, 105.

1. 13. Siftlintltg, emotion, because tragedies were chiefly presented
on Wednesday evening.
1. 19. fim お ig, instead of funfgig.
1. as. ^ratf?, a park in Vienna.

105. お Xotetttott).

First appeared in SBcrfc, 1815.

In the spring of 1813 uoethe went to the health resort Teplitz, in
Bohemia, by way 01 Leipzig. On April 21 he wrote to his wife from
Dresden and, in connection with the events at Leipzig on April 18，
said ： ©agegen fd^ricbcn xoxx gu unjcrer ？ ujl bie Don ^ugufi erga^Ite
Sotentouglegenbe In pagUd^en SReimcn auf. This gives at once the
date and source of the poem. From what source his son August had
the legend is unknown, but similar legends have existed at various
times and in various countries.

1. 2. fittge, ncbcn cinanber liegenb, in 9ie ゆ en, (von Loeper.) This
is certainly an unusual use of the word, and its meaning is in dispute.

1. 7. ^embeti, shrouds.

1. 8. t さ, referring to the dead who have just arisen from their
graves.

1. g. Oiltnbe, round dance. ― 依 attj, say, circle,

1. 16. Hertracfte, distorted, awkward.

1. 17. お erf さ ntlb Ha)l お erf さ, there is a rattling and clattering
( of bones) .

1. 18. ^^(^(ein, here of obscure meaning. Possibly " castanets," ―
jttitt Xdfte, keeping time with the dance.

1. 21. £afen, here the same as ^cmbcn.

I. 34. The line seems to mean nothing more than S)cr iD^onb fd^etnt

noc^ immcr fo l^eU.

II. 45, 46. 2)cr Silrmcr Ifigt ben ？ afcn l^enmte ゆ fingen, ba n^trb
e9 t)on bcm cifcrncn 3^*^"/ 一 ヒ 1^. bcr $anb bed (eifig fatten) %ti*
ten ― crgriffen, fo bog jcncr aud^ fdneit £ob Dor ^ugen flc^t. (Strehlke.)
一 am (jingftett gelelit, i.e. the moment of death is near.

1. 48. ほ in さ, as the end of the hour in which spirits may walk.

Sel. 106.]

NOTES.

247

106. &tmfini, getlian*

First appeared in SBcrIc, 1815.

The letter to his wife mentioned in connection with Sel. 105 also
gives information about this selection. From it, as well as from other
sources, we learn that Goethe wrote the poem on April 19, 181 3, at
Oschatz at the time of the noon rest, as he was on his way from Leipzig
to Dresden. It is a parody of a poem beginning, 3 ゆ l^abe gda ゆ t, nun
la ゆ， i ゆ ntd^t nt ゆ which Goethe had heard pretentiously declaimed at
Leipzig on the day before, and against the tone aiid thought of which
he thus vigorously protested. In his letter of May 3 to Zelter he spoke
of ®ttt)Ofjnt, ゆ an, as being a parody of the most miserable of all
German poems.

We may imagine the singer of Goethe's lines to be an elderly man
who has not lost his appreciation of the pleasures of his youth, but still
continues to do with increased enjoyment what he was wont to do in
earlier years.

1. 1. erft tt&^t, i.e. this is the first time that he has ever been com-
pletely in love. " I have been in love (in the past) , but now I am more
in love than ever before ノ， A similar idea is expressed in the first line
of each of the three stanzas following.

1. 2. ^tdlt, slave, to express a greater degree of servitude than
3)icncr.

1. 8. ge^t e さ ait*, though things go.

I. g. gldtt0tgen Dtbeu, order, or brotherhood of believers,

II. 14-16. The thought is that youth takes no real enjoyment in din-
ing; it eats rapidly and hurries off ana is thus to be contrasted with the
older man of 11. 17, 18.

1. 24. Ote iungen, the new wines,

1. 25. gclont, sworn allegiance to. For the first time he has to ad-
mit that there is something that he can not enjoy so much as in earlier
years. Nevertheless he still gets some pleasure from the quiet dances.

1. 29. tttlb ♦ • ♦ dll ゆ, though,

1. 31. ^rttltt frif4 nttr aitf さ neue ！ an admonition to begin boldly
anew.

1. 34. Stern, guiding star,

1. 36. tlOtt tiornett, from the beginning, Bowring gives the sense
admirably in his translation : " And make but the future thine own."

248

GOETHES GEDICHTE

[Sel. 107-109.

107. 2)ie ttiaubedtbf @(o(!f.

First appeared in 3Bcrfe, 1815.

Written at Teplitz on May 22, 1813. Riemer relates (i[y2ttt(^eUungen,
II, 576) that he and Goethe's son August were fond of mystifying a
child, who seemed a little afraid of the sound of the church bells and
particularly of a large one, by telling^ him that this bell could come down
from the belfry and waddle through the streets. August illustrated the
alleged motion of the bell by means of an open umbrella. The oc-
currence was related to Goethe, who seemed to pay no especial heed to
it at the time, but made use of it some years later for this ballad.

1. 2. ftd^ htt{UtUttn, gei accustomed^ or willing to go,

1. 6. iff bir ，さ (6fol)(en, you are summoned (Jo church) •

1. 7. "And if you don't get used to going;" meaning, however,
merely, and if you dot^t go,

1. 13. ^(OffC ^(o(fe, the repetition here is puzzling. The simplest
explanation is to suppose that a comma should be inserted between the
words. The boy speaks this and the next line.

1. 14. fndWlt,/ あ (v. Loeper.)
1. 19. hmf ち instead of (duft.

1. 21. Ittlttlttt ♦ ♦ ♦ ^uffi^, makes a quick motion (to one side) just
at the ri^ time (as the bell is about to cover him).
1. a8. in $erfon, by the bell in person,

108, 帅 nben*

First appeared in SBcrfc, 1815.

The poem was written on August 26, 181 3, while Goethe was on a
journey from Weimar to Ilmenau, and sent as a letter to his wife. It
commemorates their first meeting, which had taken place a little more
than twenty-five years before. It is one more token of the sincere af-
fection which he fdt for her.

1. 2. pi? Ittifi^ Qttt, along (without special purpose in mind).

109. ^(ei4 uub g(ei(^.

First appeared in SBcrfe, 1815.

Sel. 109-112.]

NOTES.

249

A copy of these lines was sent to Zelter in Goethe's letter of April 22,
1814. The poem was probably written only a short time before.

110. (BpHi erflingt, m0 frfi|| erHang*

First appeared in SBcrle, 1815.

These lines were placed as motto before the lyrics of the edition of
1815 and have continued to hold that position in subsequent editions.
They were doubtless written in 1814 in preparation for the new edition,
and express again the thought that these lyrics are the expression of the
experiences of the poet's own life. See notes to Sel. 88.

Hme of composition unknown. Attacks upon Goethe were, of course,
frequent, and the lines might have been written at many different oc-
casions before the year of publication. The thought of the poem is that
the attacks of such petty critics merely show that the one attacked is
making progress and that silence is the best answer.

1. 4. Hint, instead of beQt.

112. &ott, @miiit unb mu.

In the edition of 181 5 Goethe added several new divisions for his col-
lected poems, such as ^arabotifd^, @ott, ©emiit unb SBcU, @pricl^=
tuortlid^, (Spigratntnatifd^. In part these new divisions included poems
which had appeared under other headings in previous editions. For
example, ^arobolifd^, to which staffer (Sel. iii) belonged, also
included ！ S)ilettant unb ^ri titer (Sel. 16), and other examples will
be cited later in these notes. Nevertheless most of the poems included
in these divisions had not been published before the edition of 1815.
Of some first published then it is positively known that they are of older
origin, a few going back to his youthful days, but of the larger part of
them the time at which they were written is unknown. It is fair to as-
sume that most of these had originated in the years immediately pre-
ceding their publication in the edition of 1815. These statements apply
to the selections from ®ott, ©emitt unb SBelt, given here.

Ill

First appeared in SBcrfc, 1815.

250

GOETHES GEDICHTE. [Sel. 112-113,

1. I. A plea for religious tolerance, ttttfe? Sate? being the beginning
of the Lord's Prayer in the Reformed church, ^Ottt ttttftr among the
Lutherans and others.

1. 5. The two sources of all our knowledge, nature and religion

(dUerliefentng)* 9tatut stands in apposition to gflttt; Bmn is in

the predicate, the two subjects of the second half being fiifirliffetltltg

and ©nabe.

1. g. The gods, the creators of the universe, give us no answer to
our questions, tOXt, tDCmn, tOO, We can only know what exists (bftd
SEBcU), however much we may speculate about the causes and manner
of its origin.

113. ^pt^tobtilidi.

This was also one of the new divisions of the edition of 1815. See
notes to Sel. 112.

Goethe's growing tendency to the proverb, the epigram, etc" has
already been mentioned in the notes to the Venetian epigrams (Sel. 71).
As his lyric power waned with his increasing years, the didactic element
in him came more and more into evidence. As a result the edition of
1 81 5, and still more that of 1827, brings a very large proportion of such
poems. The lessening of the undue influence of Greek and Latin
literature upon him and his return to things German and more modem
is nowhere more strikingly shown than in these later proverbs, epigrams,
etc. (In this connection see notes to Sel. 14, 22, 60, 71.) For these
brief poems Goethe drew not only on the rich stores of his own ex-
perience and of the sententious sayings which he had heard uttered by
others, but he also made large use of collections of a similar character}
a long list of which was compiled by von Loeper.

1. I. A greeting for the new year, possibly intended for the begin-
ning of 1 814, as von Loeper suggests. The thought of the last two
lines is the same as that of the familiar saying concerning fighting the
devil with fire.

1. 14. supply qI6. He means, than to be,

1. 15. The impossibility of getting rid of all petty annoyances. See
also Sel. 87.

1. ai. Good fortune is the hardest of all things to bear.

1. 44. geloffetl, instead of getaufen. The study of Goethe's life

Sel. 113-115.]

NOTES.

251

confirms amply the truth of his own words nere concerning his freedom
from envy.

114, (S^igtammatiffi^*

This was also one of the new divisions of the edition of 1815. See
notes to Sel. 112.

In the division ほや igratnntatifd^ were also included in the edition of
181 5 2)ine gu ^oblenj and ©entalifc^ %xnUn (Sel. 20 and 63).

1. I. This epigram was evidently called forth by the contemplation
of his own works and by the thought that his achievements had fallen
short of his ideals.

1. 3. ©teBenfad^ftt, belongings, hciggage^ in a deprecatory sense,
meaning his literary work, of course.

1. ig. A longer version of this epigram appeared in 1830 in the
periodical Q[]^aoS, with the dale October 25, 1828.

1. 31. A copy of this epigram was inclosed m Goethe's letter to
Zelter of February 23, 18 14. '

1. 37. A copy was sent to Zelter on April 22, 1814. The epigram
expresses the thought that the demand for equality among men is really
due to envy.

1. 39. 9^eib ゆ att, here used as a proper name, the typical envious
man,

115, gffinf attbere.

In 1 819 Goethe published his ^efl>ofiUd^er 2)tDan. (The word
^inan means, as used here, a collection of poems by one author.) It
was included, with some additions and changes, in the collected edition
of his works in 1827, of wnich it formed the fifth volume. Even at its
first appearance in 1819, however, it had for the most part not come
fresh from the poet's workshop, as the great body of the poems making
up the collection had been written in the years 1814 and 1815 and
owed their ongin to both remoter and nearer impulses.

Goethe made his first acquaintance with Oriental literature in his boy-
hood, when he became thoroughly familiar with the German Bible and
undertook the study of Hebrew. In the latter part of his residence in
Frankfort he translated the Song of Solomon into German. When
he was working upon his drama Mahomet, he busied himself also with

252

GOETHES GEDICHTE

[Sel. 115.

the Koran, and thus became acquainted in some measure with the spirit
and contents of Arabic literature. Some traces of his interest in the
Orient are to be found in his earlier years at Weimar. Later a German
translation of one of Kalidasa's dramas called forth the little poem to
Sakuntala. The prologue of this play has apparently left its mark on
the S^orf^jlel to his gaujt

The impression made upon him by these literatures of the Orient was,
however, not profound until the year 1814. Then he became fascinated
by the poems of the Persian Shams ed-din Mohammed Haiiz (in Ger-
man spelling Hafis), which he read in the translation of Joseph von
Hammer. The time and circumstances were favorable, and Goethe
greeted the Persian poet as he had many years before greeted Shake-
speare and Homer,

This interest in the Orient was by no means confined to Goethe.
It was in the air, so to speak, and many others felt the impulse as well
as he. With him, however, the interest so increased that he felt him-
self driven to poetic pro'duction as a sort of self-defense. There was
much also in the political and social conditions of his fatherland and in
his own personal relations, which made this distant-lying theme welcome
to him. He himself says in his ^nnoteit under the year 1815 : ®(^on
Im Dorigcn 3al^rc iuarcn mir bie fammtlid^en Oebic^te $a^d in hex
toon ^ammcr'fii^cn Ubcrtctjung jugefommen, unb toenn id^ fritter ben
l^icr unb ba in Seitf ゆ riften flberfc^t mltgetciltcn eingelnen ©tit (！ en
bictc§ l^crrlid^en ^octcn nid^ は obgeminnen fonnte, fo hjirften ftc bo^
ie お t gutammen befto Icbl^aftcr auf mi ゆ ein, unb t ゆ mugte nttd^ bagegen
^jrobuctiD Dcrl^atten, mW i ゆ fonfi Dor bcr mad^tigen (Srfd^einung nid^t
き fitte bejlc^cn fonncn. 2)ie ほ mhHrhmg mx gu lebl^oft, bic beutfd^e
Ubcrfe^ung lag Dor, unb i ゆ mugtc a\\o l^icr ^eranlaffung ftnben gu
cigcncr Scilnal^mc. SltteS, nmS bcm @toff unb bem @innc mdj bei
mir 3t り nU ゆ Dcrwal^rt unb gel^egt mxhtn, ゆ at ftd^ l^crDor, unb bieS
mit urn fo mcl^r ^cftiglcit, a お i ゆ ]^5d^fl nottg fii^Ue mid^ qu9 ber
toirfU^cn SScIt, blc fi ゆ felbft offenbar unb Im fliUcn bcbro^tc, in
cine ibcettc gu flfl ゆ ten, an wclc^cr DergnugUd^en Xeil 3U n ゆ men
tnciner Sufi, gal^igfcit unb SBiUcn ilbcrtaffcn mx.

Early in June, 18 14, we find him busied with poems which are now
a part of the 2)iDan. By August 29 their number had reached thirty.
On January 11, 1815, Goethe reported to Knebel that he had been

Sel. 115.]

NOTES

253

spending most of his time of late in the Orient. On May 30, 1815, he
made a list of one hundred poems at Wiesbaden (the so-called 2Bic6*
baber Slcgiflcr) and could report that there were about as many more
smaller ones.

The summer of 1815 brought that feminine influence which once
more showed itself so powerful in Goethe's productive activity. He
spent about six weeks in August and September at the country seat
(known as bte ©erbcrmul^tc) , near Frankfort, of his old friend von
Willemer, a rich banker. Willemer had in the preceding autumn taken
as his third wife a young woman about thirty years of age. She bad
been for a short time upon the stage and had many social and musical
gifts. Goethe had met her in the preceding summer, but the closer
intimacy of life in the country home gave rise to a relationship between
poet and hostess, which profoundly influenced the ！ S)t))an.

It is true that love poems had already been written for the 2)ik)an and
that Hatem and Suleika had been chosen in the preceding May as the
names of the lovers; nevertheless, the real Hatem is Goethe and the
real Suleika, Marianne Willemer. The rejuvenation of Goethe in the
weeks of this relationship was something wonderful. Of a love affair,
in the ordinary acceptance of the words, it is not necessary to think, as
Goethe doubtless put into the poems an element of passion which did
not exist in the actual relation. Nevertheless the inspiration came from
Marianne. She was a woman of fine taste and poetic gifts. She was
not only able to appreciate Goethe's achievements but also to inspire
him by her own example, as two or three of the best poems of the
SHtoClll were certainly written by her, and others may have been.

The greater part of the わ an belongs to the years 1814 and 1815.
The division into books took place in the autumn of 1815. The sub-
sequent years, before and after the publication of the collection, called
into being only about four score of the poems as over against two
hundred in the years of chief activity. Preceding and accompanying
the writing of the poems was much of reading of Oriental literature and
of books of history and travel pertaining to the Orient. It took from
March, 181 8, to August, 1 819, to run the 2H。an through the press and
present it to the public.

The SHtoan can not in all fairness be considered as particularly
OrieDtal in character. It is rather Occidental in form and poetic color-

254

GOETHES GEDICHTE/ [Sel. 115, 116.

ing and still more in thought. Though the poet sought refuge in the
Orient, his heart and mind were really more German than in the days
of his flight to Italy. The ① iDan has had numerous imitators and
successors. Other poets have been more successful than Goethe in
imitating the forms of Oriental poetry, but none has equalled him in
the other respects which make poetry worth while. Nevertheless the
jDiDCtn has generally been regarded as among the least successful of
Goethe's lyric achievements. His increased age had perhaps its effect
in making the poems seem coicl as compared with the fire of his best
lyrics : still more the feeling of the reader that he is dealing with some-
thing artificial, something for the most part made and not lived.

§iinf onbere is found in the fourth book of the S)i わ an and was writ-
ten on December i6, 1814. The poem which precedes it there is en-
titled gilnf ！ S)tnge ； hence onbere in the title to these lines.

116» か gilt.

From the first book of ^efi«5fiU(i^er SDitmit ； see notes to Sel. 115.

A dated manuscript in Goethe's handwriting shows that this poem
was written on December 24, 1814. It stands at the beginning of the
first book and was evidently intended as an introduction to the whole
collection. It treats the poet's excursion into the Orient as a flight (he-
gira) from the rude and painful actualities of his European surroundings
into the purer and more restful life of the East.

11. I, 2. Goethe here refers to the tremendous political and dynastic
upheaval caused directly and indirectly by Napoleon. His own appar-
ently unsympathetic and unpatriotic attitude in all the years of Germa-
ny's political distress has called forth endless comment and explanation.

1. 6. G!||ifet, according to Mohammedan legend a vizier and proph-
et who partook of the waters of the fountain of perpetual youth.

1. 14. ^ienft, referring to the worship of other gods than their
own.

1. 22. 现 Dfd^tt さ, musk,

1. 34. 9(tttlira, kind of sweet perfume.

1. 36. ^ViXXf houri (nymph of Paradise).

Sel. 117-120.]

NOTES

255

117. (Sinlabttng*

From the eighth book of 2Bcjls5flItd^cr SMDan ； see notes to Sel. 115.

This is the opening poem of book Suietia and was written on De-
cember 31, 1814. As von Loeper suggests, it seems to be an invitation
to join the poet in his retirement from the world and its pleasures,
which he wins for himself, however, by this very act of renunciation.
The thought that renunciation and self-sacrifice bring us to our highest
good finds frequent expression in Goethe，s writings.

I. 7. atbot^ttl, provided for, safe, secure,

II. 8-ia. He means that for one thus made secure (gel^OtgCtl) lime
can neither give nor take anything away, for love is all. 一 e さ of 1. 12
refers back to 级 ttertieHfte さ，

118, さ mBgltf^, ba^ £ieb め en, bi ゆ fofe ！

From the eighth book of 2Bcjl»8jHid^cr 2)iDan; see notes to Sel. 115.

Conjecturally assigned to a date before January 26, 18 15, as the man-
uscript of the poem seems to suggest that it belonged to the period of
the sixth book, none of the poems of which seem to be of later origin
than the date mentioned.

119* $)ie ^e(t btttdfaiti^ ift (ieliUfi^ an き ttfti^imetL

From the eighth book of 2Befl*5jllid^cr 2)iDcm; see notes to Sel. 115,
liie manuscript of the poem is dated February 7, 1815.

120» 贷 Dmm, SieH^ett, fomm ！ utttttiiitbe mir bie お e*

From the eighth book of 2Scfl-o(lUd^cr SHDan ； see notes to Sel. 115.

Manuscript dated February 17, 1815. Goethe's birthday was cele-
brated by the circle of friends at Willemer's bouse on August 28, 18 15,
and Marianne gave him, with evident allusion to this poem, a turban of
muslin wreathed with laurel. The lover in the poem feels that such a
head-covering wrapped about with muslin by his beloved one makes
him the equal of any monarch, the headdress being the symbol of au-
thority.

256

GOETHES GEDICHTE. [Sel. 120-123.

1. 2. は eitb, turban,

1. 3. meaning Abbas II. of Persia, of whom Goethe says
in his SfJoten unb ^bl^anblungen gu beffcrem ^erfianbnid bed SBeft-5jl-
Uc^cn SHtmnS, that, like Peter and Frederick, he deserved the title of
The Great.

11. 5-8. Referring to Alexander the Great and his successors as ru レ
eis of Persia.

1. 10. 92ame ゆ 1 111091 l^itt, the name is of no consequence,
1. 15. gelSuftg, i.e., I know well what it is (inasmuch as I now
possess it through your loving glances).

121. (Silt ^aifer l^atte jioei ftafftere.

From the tenth book of Sefi^ofltUd^er SHtmit ； see notes to Sel. 115.
. Manuscript dated February 25, 1815.

122. @kftSnbni さ ♦

From the first book of Sefl»bflUd^er ！ Dit)au ； see notes to Sel. 115.
These lines were written at Frankfort on May 27, 18 15, and were

first published in 2)a« ^afc^enbud^ fiir ！ Damen auf bag 3a^r 181 7 with
the title 2)rci gragetu

1. 8. S(i^effe(, evidently a Biblical allusion, as in Matthew v, 15 :
"Neither do men light a candle and put it under a bushel."

123. mm.

From the second book of 2Bcfl=oflU(i^er SHtmn ； see notes to Sel.
115.

As it is found in the so-called ^ie^baber 9{egifier, it must have been
written before May 30, 1815.

1. 1 . f (^elte, the poem just preceding in the SDit)an is directed against
the critics of Hafiz.

1. 2. niii^t einfa ゆ gelte, has not merely one meaning.

Sel. 124：-127.]

NOTES

257

124« IBer mirb tiott ber 9Be(t tierlattgem

From the fifth book of Sefi'Sftlid^er ^it)an; see notes to Sel. 115.
Also in SBie さ baber ！ Rcgificr and written before May 30, 1815.

1. 3. Supply bie. (von Loeper.)

1. 4. belt ^ag be さ がさ tierfSume れ misses the day of days (i.e.
the most important day). An older rough draft of the poem has ben

125, Tie $eHe, bie ber SKufii^el etttrantt.

From the tenth book of ^efi«ofiU(^er 2)it)cm ； see notes to Sel. 115.
Also in ^tedbabcr ^egifler and written before May 30, 1815. Its
theme is the sacrifice of the individual for the good of the many.

1. 7. ^ott fiir gfatt, toic c« gerabc ！ ommt, giinfiig obcr ungiinftig.

(Duntzer.) -

1. 8. gelftttet, instead of gcfittct.
1. 12. 6 ゆ tmr, string {of pearls),

126. patent.

From the eighth book of Sefi^ofiUc^er SHtmil; see notes to Sel. 115.

Manuscript dated September 12, 1815. The Weimar edition states :
2)ag altefle ftd^er an SJ^arianne gerid^tete ©cbid^t It called forth in
reply Marianne's poem ©ulcifa, which comes immediately after it
in the Divan and of wDich the first stanza runs :

^od)begI{i(!t in beincr $Me&e
@d)elt^ td^ nid)t ©elegenldeit ；
SBarb fie aud) an bir gum 2)icbe,
SBie mid) fold) ein 9laub crfrcut ！

For the names Hatem and Suleika see notes to Sel. 115. .

1. 10. 究 Htfunfel, carbuncle^ the precious stone, giving forth a
gleam at night and therefore applied to the light of her eyes.

127. $(u tioKen お 拳 e お weigett.

From the eighth book of SScfl^'oftlid^cr 3)hmtl ； see notes to Sel. 115.
Manuscript dated September 24， 1815. This is another of the poems

258

GOJiTHES GEDICHTE. [Sel. 127-129.

to Marianne. It was called forth by the sight of the chestnuts in the
castle grounds at Heidelbei^, where Goethe had been writing poems
that morning. He had left Frankfort on September i8， and arrived in
Heidelberg two days later. The Willemers joined him here on the 23d
and left on the 26th. The brief visit was full of significance for Goethe,
and this poem is undoubtedly a reflection of the joy of meeting Mari-
anne again.

128. 9Bo man mir &ntS er^eigt, &htraU,

These lines, which were originally intended for Goethe's ① itmn, were
first published by von Loeper in 1868. Since then the rough draft of
the first version has been discovered and reprinted by Burdach in Vol.
XI of @oe ゆ e-3a&rblld^. This first version was seemingly written at
Meiningen on October 10， 1815, as Goethe was on his way from Hei-
delberg to Weimar. The lines, as given here in the revised version, are
of a later date, as yet unknown. It is probable, however, that the poet
undertook the revision in view of the publication of the 2)it)ail, and
then, for some unexplained reason, omitted it from the collection. In
both versions, but perhaps even more in the first, it shows the remark-
able rejuvenation that had taken place in Goethe in the ®it)an period
(Burdach). In form the poem is an imitation of the gazel, an Oriental
meter, in which one of the rimes is constant.

1. 2. (SUfet, the wine of 1811 had been particularly abundant and
good, and Goethe was meeting it everywhere.

1. 14. ^df'dppetnb, bel^agltc^ trinfcnb. (Duntzer.)

129. 3ene garftige BtHtl

From the ninth book of SBcfi*oftli(^cr 2Ht)an; see notes to Sel. 115.

Manuscript dated October 25, 1815； written therefore after the re-
turn to Weimar. The world had robbed him of laith and hope, so the
poem runs, and to save his remaining treasure, love, he divided it be-
tween Suleika and Saki, and thereby regained all that he bad lost.

1. g. ti^ ♦ ♦ ♦ flttS, broke away,

1. 14. 柳 fi, name of the waiter-boy in the 2)it)ail, of whom von

Loeper says: ！ 5)cr jugkid^ at9 bicncnbcr $age unb a お Derel^renber
liter bc« 2)i(^ter« gu bcnfcn ifl.

Sel. 129, 130.]

NOTES.

259

11. 19-23. Belief in her (il^re could, however, just as well mean
their) love is the return of faith, and the wine which the boy gives him,
glorifies the present, so that there is no need of hope. *

130, @ ま olum.

First appeared in 1816 in ^efange fiir grclmaurcr, gum ©ebraud^
aUer beutfd^en Sogen ； taken into SBcrfc, 1827.

Goethe became a Mason in June, J780, and took at intervals a very
active interest in the order. Uhder the title Soge he published in the
edition of 1827 several poems called forth by his connection with
Masonry, the number of which was later increased by two. According
to Diintzer, Goethe's son August was taken into the order on December
5, 1815, and the poem was written on the preceding day in anticipation
of that event. The tone of @ り mbolum is mystical, several passages are
obscure, and one or two possibly defy interpretation.

It was one of Carlyle's favorite poems. He gives a translation of it
at the close of the third book of his Past and Present and says of it :
" To me, finding it devout yet wholly credible and veritable, full of piety
yet free of cant; to me, joyfully finding much in it, and joyfully missing
so much in it, this little snatch of music, by the greatest German Man,
sounds like a stanza in the grand Road-Song and Marching- Song of our
great Teutonic Kindred, wending, wendincr, valiant and victorious,
through the undiscovered Deeps of Time ！ ，，

1. I. The Mason^s ways, (Carlyle.)

1. 8. As punctuated here, in agreement with the Weimar edition,
ffj^rUttOe お must modify brtltgett klOrniSirt さ, we press boldly on, although
to our glance^ merely step by step. Most editions have no point after
(§>\Mt and a semicolon after S3li(fc, "the future hides, step by step
from our sight, sorrow and happiness."

1. II. ttttb f(i^)tier ♦ ♦ . ほ]^ rfuni^ ち what is meant here is not clear.
Duntzer says with reference to the whole stanza : 2)ic britte ^tropl^e
bejicl^t fid^ ouf bad 3cnfclt«, baS citic る fiffe und Dcrbirgt, toeld^e ほ]^ r-
fur(^t errcgt, ba ni(^t« un9 bariibcr aufflcirt ； tie etoigcn ©tcrnc »cr«
fflnbcn un« ni(^t« t)om 3cnfeit«, unb bie ©rcibcr 3eugen nur toon ber
SScrganglid^feit Probably no better explanation can be given, but
how Duntzer comes to it is not very evident.

260

GOETHES GEDICHTE. [Sel. 130-133.

1. i6. fte apparently refers to や ftffe,

1. zg. waitbelttbe Sii^auer, toei^felnbe @c^aucr, ©t^oucr fiber

©d^auer. (Diintzer.) The thought of the life beyond the grave causes
even the bravest to be filled with dread and solemn feelings.

1. 21. In the last two stanzas the voices of the departed admonish to
activity and promise reward in the hereafter.

1. 28. mit ^Mt, abundantly,

131. ^en 6. ^^ni 1816.

First appeared in SBcrfc, 1827.

Goethe's wife died on the day given in the title, and the lines refer
to that event. This is one more proof of uoethe*s very genuine love
for her.

First appeared in S'^Qc^getaffene SBerfc, 1833.

Humboldt had sent to Goethe his work, Uber bte ©crt^eUung bcr
^flangengefialten auf bem (Srb&oben, (Strehlke.) It must have arrived
after Christiana's death. These lines are Goethe's reply.

133. SaUabe.

First appeared in Goethe's periodical, Uber ^nfl unb filter ゆ inn,
1820; taken into SBerfc, 1827.

The title here given is Goethe's own; most editions add to it the
words, t)om toertriebcncn unb guriidtel^renben ©rafen. This is one of
the themes which Goethe, according to his own statement in the essay
^cbcutcnbc gorbcrni« burd^ ein eingiged geifireid^ed SBort, had carried

参 華

about with him for many years. In 1821 Goethe printed in Uber ^unfl
unb ^Uertl)um an interpretation of the poem and explained that an old
English ballad bad given bim his interest in the theme many years be-
fore. It is believed that he meant The Beggar's Daughter of Bednall-
Green、 as given in Percy's Reliques of Ancient English Poetry, Goethe's
diary shows that he began the ballad in the autumn of 181 3, completing
the first eighty-one lines in November. In 1814 he planned to use the
theme for an opera, but never carried out his purpose. The last two

Sel. 133.]

NOTES

261

stanzas were not completed till near the end of 1816, as the correspon-
dence with Zelter shows. He said to Eckermann in 1828 (©efprad^e,

II, 31)： 3 ゆ l^abe bie お aflabe lange mit mir ^erumgctragcn, ♦ ♦ ♦ ゆ e tc^
|tc nicbcrfd^ricb ； e 多 flcdcn Sal^re toon S^ad^bcnfen barin, unb ic^ l^abe |tc
brct* b は Diermal Dcrfud^t, ゆ e fie mix fo gelingen mUtt, toie jtc jctjt ifh
1. I . The two children invite the old musician to enter the castle.

1. 5- gattgett, instead of gegangen.

1. zo. Here the old man begins his song.

1. II. er, i.e. ber @raf of 1. 13.

1. 21. S&ttget, also ber @raf, now become wandering musician and
beggar.

1. 32. Lit" "he does not know how to act because of his joy," i.e.
his joy was boundless,

1. 44. auf gtfttttttbem お, on the green, probably a reminiscence
of the English ballad.

1. 51. Through the word the musician reveals himself as the
grandfather of the children. Notice the same artifice in 1. 44 of ！ OiUS
^arf (Sel. 30).

1. 59. eifetnett Sii^etgett, addressed to the men whom he commands
to arrest the musician.

1. 66. あ er fftrfUUi^e @t0 お e, i.e. the father of the children, who for
the moment controls his rage, only to have it break out the more
violently.

1. 71. ©efii^ielt^ • ♦ ♦ fReci^t, serves me just right,
1. 75. Sobett unb ISBiltett, i.e. of the son-in-law, who speaks the
next lines.

1. 77. Explained by 1. So.

1. 82. Here the old man begins to speak to the mother and the
children, being SBotet of the one and $(]^tt (1. 84) of the others.

1. 8g. He has with him documents signed with the seal of the king
(^tege(u), which attest his right to the castle.

1. gz. We are to understand that the rightful king had been driven
out of the kingdom many years before, and that the old man, being one
of his supporters, had assumed the guise of a minstrel and beggar to
protect himself. Now the king returns.

1. 93. Sicgcly before he fled from his castle he had hidden his
treasures. Now he reveals their hiding place.

262

GOETHES GEDICHTE. [Sel. 134-136.

134. Urn 籠 ertt 球

First appeared in Zelter's 9icuc ？ teberfammlung, 1821； taken into
SBcrfc, 1827.

Written on February 13, 1818. Concerning its origin Goethe himself
remarked in Uber ^unfl unb ^(tertl^mit in 1822 (VoL III, 3, p. 171) :
Wlan laffc mid^ befennen, bag ゆ, tntt bent ©d^Iag 肌 ittentac^t, im
l^cUficn S3oIImonb aud gutcr, magig aufgcrcgtcr, geiflreid^ anmntiger
©efeUft^aft gurilrflc^rcnb, bad ©cbic^t cms bcm ©tcgrcife nieberfd^rieb,
ゆ tie avi(S) nur frill^cr cine ^l^nutig baton ge^abt 311 l^aben. The poem
remained a favorite with Goethe. In 1826 he remarked to Eckermann
(Oeftnrfi ゆ e I, 197) ： S)ci3 ？ icb ,,Um SWittema ゆ t" 恥 t jein ^ev^aUni9
3u mir nid^t tocrlorcn, e9 ift Don itilr nod^ cln Icbenbigcr Xeil unb teht
tnit tnir fort. The poem contrasts his feelings as boy, as youthful
lover, and as elderly man.

1. 12. itt さ ^ittftere, in bad 2)unfc( fciticr @cclc. (Diintzer.)
135. 9[n ^tfiuleitt tfou 8d^itter«

First appeared in the periodical d&aoS, 1830; not taken into Goethe's
works until comparatively recent editions.

Goethe had had in his hands for some time the album of Schiller's
youngest daughter without making the desired entry. (Diintzer.) This
explains the allusion in the first stanza. The whole serves as one
more example of the numerous poems of occasion with Goethe was
called upon to write, especially in his later years. (See notes to Sel.
lOO.) The demands upon him were enormous, and in the case of such
poems, more than any others, it is evident that Goethe was often com-
pelled to take to heart his own lines in the SJorfpicI to gaufi ：

®ebt i^r eu(^ etnmal fiir ^oetcn,
So fommanbiert bie ^oefte.

136. ほ inlag*

From the twelfth book of 2Bcfi=ofi(l(^cr 2)it)an; see notes to Sel. 115,
First printed in the announcement of the ^u^gabe tester $anb, in
March, 1826, and then taken into this edition in 1827.

Sel. 136-139.]

NOTES

263

The manuscript is dated Hof, April 24, 1820. Goethe was then on
his way to Karlsbad. The idea of the poem seems to have been sug-
gested by Moore's Lalla Rookh. Instead of an angel, as called for by
Mohammedan faith, Goethe places a houri (a nymph of Paradise) as
watcher before the entrance. She sees no signs of wounds and is
therefore unwilling to admit the poet. The first stanza of his reply
might easily stand as a fit motto for the whole of Goethe's life, (von
Loeper) .

1. 13， not so many trifling formalities ！

1. ag. ®etittgetU, i. e. he is not the least worthy among those who
enter Paradise.

137. £ゅ unb iQttal.

First appeared in Uber ^unfl unb ^tter ゆ lim, 1820； taken into
SBcrfc, 1827.

Evidently of much earlier origin than the date of publication, al-
though nothing is known positively of the time at which it was written.
It was probably among the old poems which Goethe's diary reports as
being revised on December 24, 1815.

1. 3. fttlf ゆ e ®abe, referring to the bait.

1. ig. XCCvS^ gilttett, gird myself {and make ready to go) .

1. 20. toie, however much,

138. SBenn i4 ouf bem a^arlte geV*

First appeared in Uber ^unfi unb ^Uer ゆ um, 1821； taken into
SBcrfc, 1827.

Notliing further is known concerning its origin.

139. 2)tt gittdft tioriiiaer ？ SBie ！ Ui^ fait bi4 ni^t.

First appeared in SBcrfe, 1827.

These lines were written at Marienbad in the summer of 1823, and
were addressed to Ulrike von Levetzow in answer to her reproach that
he had repeatedly met her without recognizing her (@oetl)e*3a^rbU(i^/
VIII, 1 66.) For further details concerning Ulrike see notes to next
selection.

264

GOETHES GEDICHTE.

[Sel. 140.

140. ほ legie.

Lines 79-83 first appeared in Uber ^nflt unb Slltert^um, 1825； the
poem as a whole was taken into SBcrfe, 1827. It there appeared as
the second part of Xrilogic ber ？ cibcnfd^aft, with the sub-title (Stegie.

Although this poem appears in all editions of Goethe's works as part
of Xrilogic ber ！ [leibenfd^aft, it really onginated as a separate poem.
This so-called SD'^ariettbaber @(egie commemorates a new love affair of
Goethe. In the summer of 1823, the aged poet once more visited the
Bohemian health resort Marienbad. Here he met again Frau von Lev-
etzow and her three daughters. His acquaintance with the mother was
by no means recent. He had known her certainly since the summer of
1806 and perhaps longer, and had met her and her family at Marienbad
in 1 821 as well as the following year. In the latter year began the clos-
er intimacy with the oldest of Frau von Levetzow's daughters, Ulrike.
She was then a girl of eighteen, having been born on February 4, 1804.

How far Goethe's affections were moved in 1822 is uncertain, but in
the summer of 1823, there flamed up in him a youthful passion for the
charming young maiden. Much of mystery surrounds, as yet, the fur-
ther development of this love drama. It has been affirmed, although
with little probability, that Goethe made proposals of marriage. His
affection was, however, so apparent that it became a subject of gossip
among his friends and acquaintances, and rumors of it spread over Ger-
many. It is said that Karl August, who was also at Marienbad, called
Ulrike 's attention, through her mother, to the possibility of a union with
Goethe, but whether her reply was favorable or unfavorable is a matter
of dispute. It is probable that the affair had taken the usual course
with Goethe (see notes to Sel. 25), and that after the first warmth of
interest for Ulrike he saw clearly the difficulties in his way and per-
ceived that the only safety was in renunciation.

The Levetzow family left Marienbad about the middle of August and
went to Karlsbad. A little more than a week later Goethe joined them
at the latter resort, as had been screed upon. Twelve days later, on
September 5, he began his return journey to Weimar. On that day he
commenced his (Slegte. His diary shows that he was engaged in writ-
ing it, or revising it, on several of the days following and that the final
copy was finished at Weimar, on September 18. Goethe and Ulnke

Sel. 140.]

NOTES

265

never met again. That her feelings for him were more than those of
respect and admiration is not probable. She was never married and is
still living (in 1899) on her estate in Bohemia, the last survivor of all
those who were ever bound to Goethe by strong personal ties.

The motto is taken from the last speech in Goethe's Tasso (1. 3432-
33) . The theme of the drama is also parting and renunciation, and
these lines express once more the thought that the poet finds assuagement
of grief in his art.

1. I. Goethe began to write the poem in the coach on the morning
of his departure from Karlsbad. We may regard the first stanza as his
own soliloquy on approaching the inn at Karlsbad, where Ulrike was stay-
ing, and where he was to meet her again after the days of separation since
her departure from Marienbad. The day was like an unopened bud.
Which was it to bring, the certainty of her love, or the knowledge that
she was not for him ？ But the sight of her banished all his doubts and
opened, as it were, the gates of heaven for him. His diary has under
date of August 25, the following ： @cgcn 4 U^r in 龙 ar お bob • • • TltU
bung bei grau Don SeDe^jort). Uber i^r im 2. @to(f \>om golbenen @trau§
eingegogen.

1. 4. tuattlelftnttigf he means, what wavering and doubt there is in
his mind.

1. 7. This stanza and the following deal with the days at Karlsbad.
1. 13. ni ゆ t, to be omitted in English.

1. 15. ^teget, sea/ (land promise that the morrow should be as to-
day, as explained in the next line).

1. ig. The verb is omitted. Strehlke suggests the insertion of crs
folgte or tDQtb gegeben. The stanza deals with the poet's departure
from Karlsbad, the final separation from Ulrike.

1. 25. Supply §crg as subject. Through this play on the word tier-
fd^loffett, Goethe makes the transition to his present state of mind, now
that he has left Karlsbad and is filled with the sense of his loss.

1. 32. attest, i.e. of the forest.

1. 35. (^Xd^tf meaning the sky, to which the adjectives of the next
line apply.

1. 37. For a moment he fancies that he sees Ulrike as a vision in
the clouds.

1. 47. Lit" one is transformed into many. This is explained by
toecl^feiltbe 0eftaItett of the preceding line.

266

GOETHES GEDICHTE.

[Sel. 140.

1. 49. In his thoughts he is with her again and remains with her
through the following stanzas to 1. io8. This and the next line are prob-
ably to be taken quite literally, as if she had actually met him at the
entrance to the house. The situation points clearly to Marienbad, even
though the poet actually arrived there before the Levetzow family. As
he wrote the poem, he was doubtless, thinking of the days passed with
her without regard to whether they were in the one health resort or the
other. The much kissing is probably the poet's invention.

1. 53. flat betnegUfl^, dear {vivid) thoitgh changing. He was think-
ing of her in all the differing situations of their daily intercourse.

1. 61. Goethe had been in bad health in the months preceding his
stay at Marienbad in 1823. His physical and mental improvement was
great at the health resort, and he credits all the change to the influence
of Ulrike. . . . tierf (i^munbett refers to the days before Marienbad;

ifit . • ♦ gefunbett to the change which the summer brought. The next
stanza continues the contrast.

1. 65. begeiftet, animated, gave renewed anergy of life and mind.
The explanation of how this was done follows in the next stanzas.

1. 71. tlOtt belannter @d^»ette, referring to the house in which Ul-
rike and her family lived in Marienbad. Goethe had been their guest in
this house the preceding summer. In 1823 he lived in an inn opposite.

1. 73. See Philippians iv, 7.

1. 82. etttr&tfelnb pe^, solving for one's self the riddle of.

1. 87. fo, which, used as a relative and modifying @clbjljtnn,

1. 90. meggefii^auert, fled in fright,

1. 95. That is, each day bought its own pleasures.

1. 97. What she means is somewhat obscure. Apparently the advice
is to do as the moment Dids, not to delay but to act with the whole-
heartedness of a child.

1. Z03. あ tt Huft gut rebett, it is easy for you to talk thus.

1. 107. SBinf, hint. Where he finds the hint that he must leave her
in what she says, is not so very evident. This and the following line
seem to be brought in without evident connection with what precedes,
in order to mark the transition back to his present state, as set forth in
the next stanza.

1. III. Although the present moment offers him much that is beauti-
ful and good, his grief is such that he can not avail himself of it.

Sel. 140-142.]

NOTES.

267

11. zig-i2i. The ills of the body might be healed, but not those of
his mind. What ails the mind is explained in Chttf d^U 卷, ISBUIett and
S3egriff ； Scgriff is further explained by toit ♦ • ♦ tietmiffeit* He can
not yet comprehend that he must do without her.

1. 126. ISBeggCltoffett, his traveling companions were his servant
Stadelmann and his secretary John. The one was interested in geology,
the other in meteorology. They can continue their investigations, but
his loss had made him now incapable of taking his former interest in
the phenomena of nature.

1. 133. 级 II, here a substantive.

1. 135. ^attbota, the wife of Epimetheus, the brother of Prome-
theus. ； sne was endowed by the gods with great beauty and with many
gifts, but her curiosity led her to open a certain jar in the house of her
husband, which he had been commanded to keep closed. Thereupon a
multitude of evils escaped to torment men. She put back the lid， how-
ever, in time to prevent the escape of hope.

1. 137. gubefcHg, giving bounteously,

141. @(i^(og お eUiebere in ber $(]6enbfonne.

First appeared in S^ad^gdaffene SBcrfc, 1833.

The ducal castle Belvedere near Weimar was occupied at the time of
writing this poem by the wife of the heir apparent, Maria Paulo wna, a
Russian princess, for whom Goethe cherished much good will. The
poem is included among the many ^ebtc^te gU S3ilbcrn, and has com-
monly been entitled ： TOt cincm ^tlbc^en : @ ゆ Kog ^clt)cbcrc in bcr
^benbfonne.

142. お ilb be さ etteHi^ett る aufe さ f^rattffurt am SRain*

First appeared in'^Rac^gclaffcttc SBcrfc, 1833.

Rosel, a Berlin artist, had sent to Goethe a drawing of the court of the
house at Frankfort and a dozen etched copies as a birthday present in
1825. In his latter years Goethe not infrequently sent pictures, accom-
panied by lines of his own composition, as gifts to mends, and one of
the etchings of the house at Frankfort found its way to Klinger, together
with these lines. Maximilian Klinger (1752-1831) was also bom at

268

GOETHES GEDICHTE. [Sel. 142, 143.

Frankfort. With painful pecuniary struggles he gained his education
and began his career as a dramatist. He was the author of the play
@turm unb 2)rang, the title of which gave the name to that period in
German literature to which the play itself belongs. Later he went to
Russia, became a general there, and was held in much honor.

The poem was seemingly written in the first place for Klinger and
probably sent to him in the summer of 1826. It must not be taken too
literally, however, as it is very doubtful whether Goethe and Klinger
knew each other at an age when they would play about the well at the
former's house. The days of their first intimacy came most likely when
they were young men together at Frankfort. On June 11, 1826, Goethe
sent the picture and these lines to the duchess of Cumberland. The
writing of the poem must therefore have been somewhat earlier. •

143. 3m ernfitett お ein^mt さ ttmr ，さ, m i ゆ befd^aute.

First appeared in the ^U^gabe Ui^ttX る cmb, 1829, at the close of the
third book of SSill^cIm 9Jlciflcr« SBanbcrjal^rc. Editions since then
have included it among the poems with the title, S3cl ^etrad^tung t)On
©C^iUcr^ (Sc^cibet; which was, however, not given to it by Goethe.

Small respect had been paid to Schiller's remains when they were de-
posited at the time 01 his death in the vault of St. Jacob's church at
Weimar. In 1 820 it was decided to empty the vault. The burgomas-
ter of Weimar intervened and endeavored to find Schiller's coffin. That
proved to be impossible, and he then had a number of the skulls brought
out ； from these one was selected, which was believed to be Schiller's,
in which opinion Goethe agreed. On September 17, 1826, the skull
was deposited in the pedestal of the bust of Schiller in the Weimar li-
brary. What was believed to be the remainder of Schiller's skeleton was
gathered together in the same month and likewise deposited in the lib-
rary. Skull and skeleton were afterwards inclosed in a coffin and
placed in the ducal vault in the Weimar cemetery. By them the re-
mains of Goethe also rest.

A manuscript of the poem in Goethe's handwriting has on it the words,
^um 17* @ ゆ t. 1826, through which a line has been drawn and
below is written, 25. <Bept, 1826, The latter of these dates is
probably the day of the completion of the poem, while the former shows

Sel. 143, 144.]

NOTES.

269

the occasion for which Goethe first planned it, the day on which the
skull was placed in the pedestal of Schiller's bust. With effective poe-
tic fiction Goethe represents himself as standing in the vault of the
church in the midst of the skeletons of the unknown dead, when he be-
held the skull whose noble proportions called forth his glowing eulogy.
There is nothing in the lines to indicate to us that it was Schiller's skull,
nothing to reveal the occasion which called forth the poem. The
measure here used in imitation of Dante, the terza-rima, was employed
by Goethe elsewhere only in gaujl, II, 11. 4679-4727.
1. I. お eittl^fUt さ, charnel house.

1. 15. $(b ゆ ten, i.e. to him as skilled in osteology and phrenology,
and possibly also as the intimate friend of Schiller, ©thrift refers
probably to the form of the skull as indicating the character of the mind
which it once inclosed.

1. 18. @ebilb, referring to the skull.

I. 23. ^ie gOttgebaii^te Spur, i.e. the form of the skull told of the
intellectual greatness of the man.

II. 24, 25. The sight (of the noble proportions of the skull) trans-
ported him to that sea which, swelling, streams forth ever higher (gcjlCl*

gcrte) forms. Blume explains ： S)aS 2Wcer , • ♦ ifl bag ？ cbcn, bad @cin,
n)el(^c« in fcincr fortfd^rcitcnbcn @ntn)i(!(ung immcr l^ol^ere Organic*
men ]^crt)orbringt.

I. 26. @efS も, referring to the skull.

II. 33, 34. Referring to the mutual action and reaction of mind and
matter and to the manner in which either may influence and change the
other.

144. %t^\i^it {tttb gemalte ^enfiterf^eibett*

First appeared in SBcrIc, 1827.

fhe time at which it was written is unknown. Poems are like stained
glass windows of churches in that they must be seen from within and
that we must seek to put ourselves in the same frame of mind as the poet
in order to appreciate them.

1. 4. $]tili{ter, Philistine, one without taste and interest in art and
literature.

270

GOETHES GEDICHTE

[Sel. 146.

145» 3 ゆ) ne Xettieu*

Of the 3ct^tne 3Eenien, given here Nos. i-6, appeared in Ubet ^linfl

unb snter ゆ mn, 1820； 7-9, in fiber ^nfl unb ^Ucrtl^um, 1821； 10,
II, in U6er ^unfl unb ^Itert^um, 1824； 12-22, in SBcrfe, 1827 (in

which the preceding numbers were reprinted) ； 23-30, after Goethe's
death, as indicated below.

Goethe's growing interest with his increasing years in the proverb,
epigram, etc., wnich has already been mentioned in the notes to Selec-
tions 71 and 113, was shown by the publication in 1820 in Uber ^unfi
unb ^(tert^um of a series of 3ct^tne 3Eenien, which was followed by fur-
ther series in the years 1 82 1 and 1824. The edition of 1827 contained
six ^bteilungen of ^ai^mt BEenien. Editions appearing since Goethe's
death, together with the new Weimar, have added three, making in all
nine divisions, or nearly six hundred, of the SEenieit. Of the most it is
impossible to fix the date of composition. The great body must have
been written in the years 1815-1827, a few are of an earlier, and a few
of a later date. The word ja^tn shows their prevailingly peaceful tone,
as contrasted with the polemic character of the original BEenien (see
notes to Sel. 80). Goethe drew here on sources outside his own life
and experience to a less degree than in the previous collections, ©prit^^
iDiJrtU も, (Spigrammattfc^, etc.

1. I. Only he is fit lo lead in the present, who knows the history of
the past.

1. 5. eitt ^dltig Sent, because wholly alone, all with like sympathies
and tastes having died before him, and the new generation having its
own interests which he can not share.

1. 13. One of Goethe's (BpxHdjt in $rofa says: ^dj bebaure bie
Tlen\(tjen, tt>e\d)t \>on ber ^ergdnglid^feit bcr 2)tnge Diel SBcfcnS madden
unb ftc^ in SSetrad^tung irbifd^cr ^Ud^tigfeit Dcrlicrcn : fmb tuir ja
then Mljalb ha, urn ha9 ^ergSnglid^e unt)etgangti(^ git madden ； bad
fann [a nur baburc^ ge|(^el)en, iDcnn man beibed fc^S お en toeig.

1. 29. See notes to Sel. 151.

1. 51. This saying was sent to Zelter on August 8， 1822. In the
sixth book of SHd^tung unb SBal^rl^eit (p. 39) Goethe says ： 3a, e9 t)er*
bro6 m ゆ gar f ゆ r, a お id^ bcmal^m @rotiu« fjohe ilbermfltig gcau^crt,
cr (cfc ben Scrcnj onbcr« alS bie ^aben.

Sel. 146.]

NOTES

271

1. 6o. The right conquers in the end, the base may triumph for a
time but must finally succumb. '

1. 74. We are what the experiences of mankind in the past and our
present environment make of us.

1. 78. e さ, referring back to ^inb.

1. 80. Ulttftttigeit, surroyLnd with moral influences, ― il^it, the pro-
noun is here changed abruptly to the masculine, because the child has
now become a youth.

1. 87. kierbUfft, abashed,

1. 94. a お 效 ttt04 ゆ 01te, to be an autochthon.

1. g8. The description of his father and mother agrees with what he
says in ！ Did^tung unb 2Ba り rl^ett. The allusion to the grandparents is
more remote and hardly to be taken literally. He here applies to him-
self what he has said in a more general way in the two preceding

lentcn.

1. no. He returns again to the statement that all that he has written
is one long confession.

1. 118. First appeared in 9^ac^gelaffene SBcrfC; 1833. The thought
is allied to that of lines 90-109. He who believes that he is self-made
and will learn nothing from others, shows by his own work that he
really has learned nothing.

1. 121. buttaii^, lit., "accordingly," say, it looks that way (that is, as
if you had learned nothing from others).

1. 122. First appeared in SBcrle, 1836.

In 181 9 a plan to erect a monument to Goethe in Frankfort was pro-
jected and a public appeal for subscriptions was made in the next year.
Goethe's poem probably belongs to this period. The undertaking failed
then, although a monument was erected in 1844. Heine's sonnet, ！ Dad
^jrojcfticrtc ！ Denlmal @oe ゆ eg, written in 1821, rails greatly at the com-
mercial spirit, as he conceived it, which led Frankfort to plan such a
monument as a business advertisement, and expressed the same idea as
this poem ： (Sin ！ Denlmal l^at ftd^ @oe ゆ e felbfl gefe お t.

1. 126. First appeared in SBerIc, 1840.

1. 134. First appeared in the periodical (£&aoS ； taken into 9^a(i^«
gclaffcnc SBerIc, 1833.

1. 142. First appeared in ！ Oeipgiger 9JhifeiiaUnttnac^, 1831； taken
into SBerfc, 1836,

272

GOETHES GEDICHTE

[Sel. 145.

Inclosed in the letter of July 17， 1827, to Zelter, where it was intro-
duced by the words, お or einigen Sagen erging tnic^ in folgcnben
3cUcn, Goethe was not wholly without interest in the United States,
particularly in his latter years. Americans visiting in Weimar must have
helped somewhat to make him familiar with the intellectual life of the
country. Harvard College possesses a number of volumes of Goethe's
works, a gift from him. The letter of presentation, dated August 11,
1819， states ： ！ Die beifolgenbett bic^tertf(^en unb tuiffcntfci^aftlic^en
SBerIc fd^enfc 16) bcr あ tbUo ゆ ef ber Unioerfitfit gu datnbribge in
@nglanb a お 《3et(^eii mcincr ticfcn Seitnal^me filr i^rcn &o り 《i ttjiffen-
fd^aftltc^en (S^aralter unb filr ben erfolgreit^cn ほ ifer, ben fic in cincr fo
iangen Sle ゆ e toon 3 ゆ ren filr bic gSrbcrung grfltibU ゆ 《 unb anmutiger
^ilbung bclDicfcn ^at«

Struve，s ^eitrdge gur SJZineralogie unb ©eologie bc8 norbU(^en
^tnenla, 1822, had called forth Goethe's comment (as cited by von
Loeper) ： Ubrigend ift jener SBclttcil glitdtlic^ gu や reifen, bag er bie
tmHantf ゆ en SBlrfungen entbel^rt, kvoburc^ bcnn bic ©cologie bcr ncucn
SBcIt einen roeit feftcren (Sl^aralter getgt aid ber altcn, h)o md& は me§r
auf fcflem guge gu fie り en fc^eint. Volcanic operations have, however,
been tremendous in the United States, and the opinion held in Goethe's
times was due to the fact that so little of this country had been studied
by geologists.

Pnnce Bemhard, the youngest son of Karl August, had returned to
Weimar in the autumn of 1826 after a journey to America. Goethe
had read his diary in manuscript before its publication and had been
greatly interested in it. This interest may have been the direct cause
of the poem. The thought, which runs through it, is the familiar one
that the nation is fortunate which has no history.

1. lAH, お afutt, a mistaken view, as stated above.

1. 153. Called forth by the flood of poor novels of his time.

1. 154. First appeared in 92a(i^getaffene Scrfe, 1833.

1. 158. First appeared in 9^a(^ge(affene SBcrlc, 1833. Probably
written about 1815.

1. 159. In November, 1 81 3, Goethe remarked to Luden (Bieder-
mann, @oe ゆ eg ^e\pvadit, III, 103) ： 3c^ l^abe oft cincn bittern
©(^merg em^funbcn bcl bem ©ebanten an bad beutfc^e ©otf, ba« fo
ad^tbar im (Singelnen unb fo miferabel im iangen ijl. The events

Sel. 145-148.]

NOTES.

273

which led up to the final and complete overthrow of Napoleon, caused
him to believe that the Germans were, after all, capable of uniting to
perform a great deed.

1. 163. His wish was fulfilled in the establishment of the German
Empire in 1871. ,

1. 164. First appeared in iRa(^geIaffene SBerfc, 1833. It shows
Goethe's conservative attitude with reference to government by con-
stitution.

146. ^tt ^ttffuif toie bie Stad^tigatt.

First appeared in ©critncr SD^ufenalmanac^ filr bad 3al^r 1830 ； taken
into 9^a(^ge(affene SBerfe, 1833, as one of the poems of (2[^ineftf(^«
！ S)eutfc^e 3a^rc8« unb 2:agc«gcitcn.

Goethe's interest in Chinese literature revived in the early months of
1827, and the result was the writing of (J[^incflfc^*!5)CUtfci^c 3a^re8- unb
Sagedgeitetl in the spring of that year. Goethe spent several weeks in
May and June at his ©arteil^SudC^en on the Ilm， and while there com-
posed the series of poems with this title. (See Biedermann's essay on
the subject in @oct]^e*gorf(^ungen, neue gotge, 426.)

1. 6. This seems to mean that he had previously been able to see his
sweetheart in her garden; now the foliage hides from his view also her
gay garden house in Chinese style.

1. 12. Often, Where his sweetheart is, is always the Orient, the
nsing sun.

147. あ ie fHtte gfreube toottt il^r ftareit ？

History of origin and publication the same as for the preceding poem.
As Biedermann remarks, the sentiment is not Chinese but the poet's
own.

148» あ em aufgel^euben ^ottmonbe.

First appeared in き laffene Serfe, 1833.

In July, 1828, Goethe went to the grand ducal castle Dornburg,
where he remained till after the beginning of September. Karl August
had died suddenly on June 14, and Goethe's retirement to Dornburg
was in part due to the hope that absence from Weimar might lessen
his grief at the loss of so faithful a friend.

274

GOETHES GEDICHTE. [Sel. 148-150.

This poem was called forth by the full moon in the latter part of
August. On October 23 Goethe sent it to Marianne von Willemer, who
had been traveling in Switzerland with her husband, with the inquiry :

Wit bcm freimMU^pen SBillfomm bic り eitere 3Infrage : too Me liebcn
SReifcnbcn am 25. ^uguft '卩ゅ bcfunben ？ unb 06 <Bit DieQeid^t ben
ffaren SBoHmonb bcad^tcnb bed (Sntfernteu geba ゆ t l^aben ？ S3eifom*
ntenbe« gicbt, わ on feiner ©cite, bad unkviberfpred^Ud^fle ^eugmS.
According to Creizenach (^ricftDec^fel glDifd^eit @oe ゆ e uitb SJZartanne
わ on ^ittcmer, 58) Goethe and Marianne had agreed in the summer of
1815 to think of each other at the time of the next full moon. This
promise and the letter make clear the origin of the poem. See also
Goethe's poem ^ollmonbnac^t (written October 24, 1815) in SScjl*
0{IUcf|er ！ DiOan and particularly the lines :

(Su4) tm SSoQmonb su begrii§en
\\)x \)e\l\Q angelobet.

149. お ttt ま g, (BtpttmUt 1828.

First appeared in 9Zac^ge(affeue SBcde, 1833.

Goethe left Domburg on September 11. The poem was consequent-
ly written before that date. Letters to Zelter, describing meteorological
conditions like those mentioned in the poem, make it probable that the
actual date was September 7 or 8. The situation calls for a misty morn-
ing, with a cloudy sky later ； the East wind clears the air; the remain-
der of the day is bright, and at evening the sun sets gloriously.

1. 4. As the mist disappears, the gay-colored, fully opened calyxes of
the flowers become visible.

1. 10. fRtxntt SBtttft refers back to bit, — htt (Svogett, ^olbett,
means the sun, and to it the poet expresses his gratitude for the lovely

150. (Btm erfttOiett ift fii^on.

First appeared in the periodical (J [り aoS, 1830； taken into SBerIc,
1836.

The time of its origin is unknown but is possibly much earlier than
the date of publication.

Sel. 151, 152.]

NOTES.

275

151, 9n bie fuufsel^n gfreuttbe in ほ ttg(attb»

First appeared in the periodical @l^aoS, 1831; taken into SBcrfe,
1836.

Carlyle, together with Scott, Wordsworth, and other friends, sent to
Goethe as a birthday present a seal* Among other decorations there
appeared on it the English translation of one of the ^al^Xttt BEciticn (see
Sel. I4_5， 11. 29 ff.), as follows :

Like as a star
That maketh not haste,
' That taketh not rest,

Be each one fulfilling his God-given best.

. In his letter of August 20, 1831, Goethe described the seal to Zelter
and stated that he had already written some friendly rimes in acknowl-
edgment.

1. 6. Evidently a repetition of the thought of the above-mentioned
lines.

152. mx^txpmt

First printed in 1849 in ^\xx (Srinncrung an bic geicr bed 28. ^ngufl
1849 auf bcr @ro§l^crgogUd)en ©ibtiot^ef SBeimar. The new Wei-
mar edition includes it among the り me Xcitien.

These lines were written by Goethe in the album of Siegmund von
Amim, with the date March, 1832, and it has been claimed that they
are the last which he ever wrote. The first publication, with the date
March 6， 1832, was based on another copy. It is not probable that
Goethe actually composed these lines in March, 1832. The idea con-
tained in them had been expressed by him before ； for example, in the
twelfth book of ！ Did)tung unb SC3ci り ゆ eit (p. 141) ： Seit aber im grie-
ben bcr ^atrlotiSmug eigentlid^ nur barin befle^t, bag jcbcr t)pr fcincr
X\)nxt f ゆ re, Jcine« %mM toaxtt, \txnt Scftion Uxnt, bamtt e9

ttJO り I im §aufe fte&e. It is nevertheless interesting to note that, as a
rule of life, these lines seemed to Goethe in his last days to be fit to
guide his young friend.

1. 4. ft 奉, instead of ftc^n.

BIOGRAPHICAL LIST OF PERSONS MENTIONED
IN THE POEMS OR NOTES.

Anna Amalia (l 739-1 807), the mother of Karl August. During the

years of his minority she acted as regent.
Basedow, Johann Bemhard (1723-1790)， an eminent schoolmaster

and educational reformer. Despite his many vagaries and unsound

opinions he exercised an influence for good on primary education in

Germany.
Behrisch, see page 175.

Bemhard (1792- 1862), son of Karl August. He lived a roving and
adventurous life, and was endowed with decided military gifts. The
crown of Greece was offered to him but was refused.

Bettina, see Brentano.

Bottiger, Karl August (i 760-1835), classical scholar and archaeologist

of repute. . From 1791 to 1804 rector of the Weimar gymnasium.
Breitkopf, see page 176.

Brentano, Anna Elizabeth (Bettina) (i 788-1859), the daughter of
Peter Brentano and his wife (Maximiliane La Roche), married in
1811 to Ludwig Achim von Amim. She was an enthusiastic ad-
mirer of Goethe, with whom she stood on terms of intimate friend-
ship for a time, until some insolent remark made by her to his wife
led to a rupture. She is chiefly known as the author of ®oet^e9
©rieflDed^fcI tnit cinem ^inbe, a highly imaginative work' on a small
basis of facts.

Brion, Friederike Elizabetha (1752-1816), the daughter of the pastor
at Sesenheim. She remained unmarried and died at Meissenheim.
See page 1 78 ff.

Brun, Friederike Sophie Cbristiane (i 765-1835), a German poetess.

Buff, Charlotte Sophie Henriette (1753-1828), born at Wetzlar, where
Goethe met her in 1772. Although she was already as good as
engaged to Johann Christian Kestner, to whom she was later married,

276

BIOGRAPHICAL LIST

277

Goethe became so interested in her that he felt obliged to seek safety
in withdrawal from Wetzlar. She and her husband are, in part, the
basis for the characters of Lotte and Albert in Goethe's SBcrtl^er.

Cagliostro, Count Alessandro di (i 743-1 795), his real name being
Guiseppe Balsamo. The most noted swindler of the eighteenth cen-
tury, almost the whole of Europe being at one time or the other the
field of his operations. He died in prison at Rome. Goethe visited
his family at Palermo.

C 請 pe, Joachim Heinrich (1746-1818), schoolmaster, philologist
writer for the young.

Christiane, see Goethe.

Cimaroso, Domenico (i 749-1 801), Italian composer of operas.
Crespel, Franziska Jakobea (born in 1752), married a Jacquet. See
page 178.

Cumberland, Friederike Caroline Sophie Alexandrina, Herzogin von
(1778-1841), a princess of Mecklenburg-StreKtz, who took as her
third husband the duke of Cumberland, afterwards king of Han-
over. In 1790 she lodged in the house of Goethe's mother at the
time of the coronation of Leopold II. and played with her sister
about the well. She and her husband visited Goethe at the Gerber-
tniihle in 181 5.

Eckermann, Johann Peter (1792 - 1854), Goethe*s Boswell. In 1823
he went to Weimar and came into intimate personal relations with
Goethe. He assisted in the preparation of the ^U^gabe letter ^aitb
and together with Riemer edited Goethe's literary remains. He is
the author of that important source of information concerning ooethe,
©efprdc^e tnit ©oet^c, of which the lai^er part appeared in 1836, the
remainder in 1848.

Egloffstein, Henriette, Grafin von (1773 - 1864), her maiden name
was the same. After her divorce from her first husband she was
married to Oberforstmeister von Beaulieu-Marconnay. In the years
of her life in Weimar she was of great social importance because of
her beauty and her charms of mind and manner.

Einsiedel, Friedrich Hildebrand von (1750-1828), filled various posi-
tions connected with the court and the affairs of the duchy of Wei-
mar. He was a minor author, wrote plays for the Weimar stage,
translated Terence.

278

BIOGRAPHICAL LIST

Ewaldy Johann Ludwig (1747- 1822), a clergyman. He was Kirchen-
rat at Karlsruhe at the time of his death.

Flachslandy Maria Caroline (1750-1809), the wife of Herder.

Frommann, Karl Friedrich Ernst (i 765-1837), book-dealer and pub-
lisher in Jena.

Goethe, Johanna Christiane Sophia von (i 764-1816), her maiden
name was Vulpius. She entered into the relationship with Goethe in
July, 1788 and was formally married to him in 1806.

Goethe, Julius August Walther von (1789-1830), the only child of
Goethe to reach maturity. Endowed with none of his father's great
gifts but having much practical ability, he died, in part, a victim to
his own excesses.

Hafiz (died 1389), see page 252.

Herder, Johann Gottfried von (i 774-1803), one of the most illustrious
of German thinkers, writing voluminously about religion, philosophy,
history, literature, and art. He was court preacher and consistorial
councillor at Weimar. He had remarkable skill as a translator and
was greatly interested in the Volkslied.

Herzlieb, Christiane Friederike Wilhelmine ( 1 789-1 865), the Minna
of the sonnets. See page 242. She was married in 1821 to Dr. K.
W. Walch and died in a sanitarium for nervous diseases.

Jacobi, Johann Geoi^ (1740-1814), a writer of some prominence in the
eighteenth century. He and his brother, Friedrich Heinrich (the
philosopher, 1743—1819), the latter，s wife, and their sister Charlotte
were among Goethe's intimate friends in his younger days.

Jean Paul, see Richter.

Karl August (i 757-1828), duke, and later grand duke, of Weimar,

the friend and patron of Goethe.
Karl Friedrich (i 783-1853), the son and successor of the preceding.
Kayser, Phillip Christoph (1755 - 1823), musician and musical composer.
Klinger, see page 267.

Klopstock, Friedrich Gottlieb (1724- 1803), the German poet.

Knebel, Karl Ludwig von (i 744-1834), tutor of Prince Konstantin,
the brother of Karl August. He was for many years a friend of
Goethe and was himself a literary man of some ability.

Komer, Christian Gottfried (i 756-1 831), the intimate friend of Schiller
and the father of the poet Karl Theodor Korner (1791-1813).

BIOGRAPHICAL LIST.

279

La Roche, Maximiliane Eupiirosyne von (1756-1793), married to Peter
Anton Brentano, an Italian by birth but a merchant at Frankfort.
Goethe had known her before her marriage. Her husband's jealousy
of him gave part of the basis for the characters of Lotte and Albert
in SBcrtl^er. She was the mother of Bettina Brentano.

Lavater, Johann Kaspar (1741-1801), a Swiss clergyman. His repu-
tation rested chiefly on his 狗り (iognomifd^e ^ragmeitte gur ^cforbc*
rung bcr SWcnfd^cnfcnutnig unb SWcnJd^cnlicbe.

Leasing, Gotthold Ephraim (1729-1781), the great German critic and
dramatist. •

Levetzow, Ulnke von, see page 264.

Lili, see Schonemann.

Loder, Bertha von, see page 244.

Luden, Heinrich (i 780-1 847), professor of history and writer on

political and historical topics.
Mahr, Johanh Christian (i 787-1 868), Berginspektor, later Bergrat.
Marianne, see Willemer.

Maria Paulowna (i 786-1 859), by birth a princess of Russia, wife of
Karl Friedrich of Weimar.

Mendelssohn-Bartholdy, Felix (i 809-1 847), the great musical com-
poser. As a child he visited 'Weimar and greatly impressed Goethe
by his playing.

Merck, Johann Heinrich (174 1-1791), held a post in the war depart-
ment at Darmstadt. His clear judgment in literary matters was of
value to Goethe, although his own literary achievements were not
important. His life was very unfortunate and in despair he com-
mitted suicide.

Moors, Friedrich Maximilian (i 747-1 782), an advocate in Frankfort.
He was one ot ooethe's youthful intimate friends.

Newton, Isaac (i 642-1 727), the great English physicist and mathe-
matician.

Nicolai, Christoph Friedrich (1733-1811), a Berlin publisher and
writer.

Oeser, Adam Friedrich (171 7-1 799), a painter and sculptor of some
prominence. He was for many years director of the Kunstakademie
at Leipzig.

280

BIOGRAPHICAL LIST

Oeser, Friederike Elizabeth (1748- 1829), daughter of the preceding

and a friend of Goethe in the days at Leipzig.
Pfenninger, Joharni Konrad (i 747-1 792), a Swiss clergyman and

friend of Lavater.

Richter, Jean Paul Friedrich (i 763-1825), a German novelist and
humorist, of great repute for many years. He is extravagently praised
by Carlyle, for example.

Riemer, Friedrich Wilhelm (i 774-1845), tutor of Goethe's son, also
Goethe's secretary, later teacher in the gymnasium and still later
librarian at Weimar. He assisted in the preparation of the ^u9gabe
letter ^anb, was associated with Eckermann in the editing of
Goethe's literary remains and wrote SD^ittl^eUungen ilber @oe%.

Salzmann, Johann Daniel (i 722-1812), actuary at Strassburg and a
table companion of Goethe in the latter's student days there.

Schiller, Johann Christoph Friedrich ( 1 759-1805), the great poet and
intimate friend of Goethe.

Schonemann, Anna Elizabeth (1758 - 181 7), Goethe's Lili. See page
192 ff. In 1778 she married Bemhard Friedrich von Tiirckheim.

SchonkOpf, Anna Katharina (i 746-1810), see page 177.

Seckendorff, Karl Siegmund von (i 744-1 785), a minor poet and
musical composer. Beginning with 1775 he was for a few years
Kammerherr in Weimar, entering later into the Prussian service.

Seidler, Luise (i 786-1 866), a painter. In 1824 she was made custo-
dian of the ducal collection of paintings.

Stein, Charlotte Albertine Ernestine von (i 742-1 828), her maiden
name was von Schardt. Her husband was Oberstallmeister at Wei-
mar. Her intimacy with Goethe began in 1776, but his relations
with Christiane after his return from Italy caused it to end. See
page 198 ff.

Stock, Johanna Dorothea (1760-1832), her father was an engraver
with whom Goethe came into contact while at Leipzig. Her sister
was the wire of Korner. She was a painter.

Stolberg-Stolberg, Auguste Louise, Grafin zu (i 753-1835), became
in 1783 the wife of Graf von Bemstoff. The letters of Goethe to her
in his Frankfort and early Weimar period are an important source
of information concerning him. Her brothers accompanied him on
his journey to Switzerland in 1775.

BIOGRAPHICAL LIST.

281

Vnlpins, Christian August (i 762-1 827), brother of Goethe*s wife. He
became librarian at Weimar in 1806, was given the title Rat in 1816,
and was a prolific writer of poor novels and plays.

Vulpius, Johanna Christiane Sophia, see Goethe.

Werner, Friedrich Ludwig Zacharias (1758-1823), a minor German
poet. See page 242.

Wielandi Christoph Martin (i 733-1803), the well-known German
poet. He was called to Weimar in 1772 as tutor of Karl August.

Willemer, Johann Jacob von (i 760-1838), a banker of Frankfort,
with a taste for literature and art.

Willemer, Maria Anna Katbarina Theresia von (i 784-1 860), became
in 1814 the third wife of the preceding. Goethe's Suleika. See page
253. Her maiden name was Jung. For a brief time she was a ballet
dancer and actress at Frankfort, but while still a child she was rescued
from this life by Willemer and reared with his children.

Zelter, Karl Friedrich (i 758-1 832), musician and musical composer,
residing at Berlin. The warm friend of Goethe, setting to music
many of his poems.

Ziegesar, Sylvie von (1785-1855), was married in 1814 to the clergy-
man Friedrich August Koethe.

INDEX OF FIRST LINES.

PAGE

？ ！ unau ゆ dtfam jtrebct ba§ . 88
nmS foU hex 33len]^ ... SO
toex brinflt bie f(^)5nen . . 74
^ae ^rei^eitSapoflel; fie は aren . 82
%Ue^ in bcr SBcIt Ififet ft(^ . . 130
？ Imerifa, bu ^aft ed bcffer . . 167

？ In bcm rcinftcn 84

？ InbcrS lefen ilnaben ben . . 163
%n bicjem SBrunnen l^afl au(^ . 158
^ngebenfen an baS @ute. . . 166
^ngebenfen bu bcrfluitflner ♦ . 37
^nmutig 2 も at ！ bu immcrflriincr 60

Sraucrtagen 145

わ otten SBiifc^elameigen . . . 141
^rm am SBeutd, franf am . .94
^uf j^iefeln im ^a6)e, ha Uefl， . 3

93eDe (！ e beinen $immd, 3^u§ . 26
Sex bent ©lange bcr ？ IbcnbrSte. 85

3)a broben auf jenem SScrge . 106

(©(^ift^crS iJIaflcIUb.)
3)a broben auf jenem SSerge . ii3

(35erflf*IoB.)
3)aS filter ift cin ]^5fli(^ SWcmn. 134
5E)a8 ©rD^te は ill man ni(^t . . 134

2) a§ ^ii4)ti0e, unb mcnn au4) . 162
5E)a さ Unf cr SSatcr, em f4)5n 128

3) aS aOBaffcr muf(^t，， t)a さ . . 50
S)cm ©cicr gletc^ 45

PAGE

S)cm ^crren in bet SBflfie . . 96
2)cni Sconce, bent IHegen ... 41
S)cn ^inatflen, 8iba, toelc^en bu 53
S)cr bu toon bcm る immel bift . 38
2)er Studnd me bic 9la4)tigaa . 168
2)cr SKorgcn ！ am; eg f(^eu(^ten 67
2)cr ©traufe, ben x6) gepflticfet • 121
2)cr liirmer, ber )(^aut . . 122
5De§ 2Jlaurer§ 2Banbe(n . . . 143
2)c§ 5Kenf(^)en ©eclc .... 51
め tester licben m(^t ju jc^metgen 104
2)ic 2)cutf(<)en finb rec^t gute . 167
5Dic 9lebcl jcrreifeen . ... 87
2)ie ^(JcrlC; bie bcr 5Ku|(^eI . . 146
5Dic|cm ^mbofe berfltd が i6) . 81
5Dic jUIIe ^Kubc tDoQt i^r • . 168
S)U aBelt tmn^duS ifl Ueb(i4) -. 137
5Dtr nmrum bo4) bcrlicrt . . . 161
2)onncr§tafl nad) SBctcebcrc . . 122
^oppe(t fliebt, rocr gletc^ giebt . 131
S)u gel^ft ！ murrc .... i
S)u gingfl tooriibcr ？ 9Sic ！ . 152
S)u ^aft un3 oft im S^raiim . 3
5E)u f)a^ ni4)t re(^)t ！ 5Da さ mag 162
2)u forgcjl freunbU(^ mir ben . 75
5Du toerfu 樣 o (^onne . ... 144

(Sbel fci bcr 5Kcnf(^ . ... 55
ein alter 2Jlann ifl fte お cin . 161
(Sin a3tumenfll5(f(^en .... 128

383

284

INDEX OF FIRST LINES.

PAGB

(Sinen @^tnefen fa^ i(4 in tRom 94

ほ ineS 9Renf(^n Seben, »a« • . 82
(Sin jeber ！ el^re t)or feiner • 170
(Sin Patfer l^atte gtoei Pajftete . 138
ほ in itxani ift gar Diet leicfttcr • 129
(Sin retner IReim »irb lool^I . . 163
(Sin Strom entrauft^t . ... 118
ほ in Seil も eu auf ber SBiefe . . 19
ほ nt&ufkSmuS Deroleii^' gem. 133
(Snt}n>ei， unb gebtete ！ Xfii^tia . .132
ほ rteud^tet au&en ^e^r t)om . . 158

ほ r{l ft^t cr eine SBetle ... 2
ほ S f)ai ber %\itox, toenn cr . . 1
(Sd 1^att， ein Pnob' eine %aube 18

(Sd fd^Iug mcin ^era, gefd^ninb . 4

(S3 mx ein fauler ©(^fifer . . 52
toax etn itivh, baS iDoQte . 126

(S§ toar ein j^dntg in 冗り ule . 20

&ゆ tfl bu, Ia§ 2>i が g ni(^t . . 162

^iget Q^ebanfen 45

^rn Don gebtlbeten SRenfi^en . 84

^lad^ bebecfet unb leiAt ben . 73

9Tan!rei4)§ traurig ®ef(^t(!, bie 83

§reut eu(^ beS @4)metterUng§ . 93
Sfrul^, tvenn £》a レ ©ebtro unb . 169

Qfuaefl ftieDer 93uf(4 unb 冗》 at . 48

©ana unb gar 130

©ebii^te jtnb gemalte . . . . 160
®el^, 0e も or も e metnen SOBinfen . 80
@ern rofir* i も Ubertieftuna lod . 164
@ott fegne junge &mu . . ii
® u t toertoren 一 etwaS berloren 166

^anb in ^anb ！ Unb fiipp* . 85
^aft bu einmal bad tRec^te • . 131
^at affeS fcine 3eit .... 18

PAGE

^at ber a(te ^esenmeifler . . 96
^eiB tnid^ mt^t tebcn, お i& mii) 72
^ereitt; o bu 0uter ！ bu %l\ex . 145
る er}, mein ^erg, tt>a§ foU bad . 28
^eute geV お otnm， i(4 . . 132
^eute jleV meine SBcu^e . . 150
^iex ftnb toir t)erfamme(t au . 119
^oi) auf bem alten %uxme . . 21

3(!^ bin ber tool^Ibefannte . . 112
3(!^ ben!e Dein, toenn mir ber . 86
3(4, ほ 0oift ！ 一 SBBcnn i が S nU^t 131
3(4 Qtnfl itn SQSalbe . . . . 127
l^abe geltebeV nun ticb* id^ . 124
^ab* t^n gefe^en . ... 78
1^ab， mcin も auf ni(^t§ . 115
3(4 l^ielt mi も fiet§ toon . . . 166
34) lann mid^ nt(^t bereben . . 167
Sd^ nanble auf toeitcr, bunter • 129
3(1^ toar ein ftnabe toaxm unb . 50
3(4 toex^ nii^t, naS mir l^ier . 41
3&r (a§t nii)i tm も, i も r btetbt . 133
3m crnpcn ©ein&auS は ar ，き. . 159
3m き elbe W^W fHK unb • 37
3m l^otben %\^01, auf . . . . 38
3m ^Rebclgeriefcl, tm tiefen . . 10
3m neuen 3a も re ©liitf unb . . 129
3n aUen guten ©tunbcn . . . 31
3nS ©it^ere は iUfl bu t)i も betten 161
3fl bo4) feine 9Renagerte ... 32
3fi，S m5gt ゆ, 2m お xi), Siebi^en . 137

3eber Sflngling, fe^nt jUft, fo . 29
3ene garfiige SScttcI . . . . 142

Aennfl bu bad 2anb, wo bie . 71
Pleine お lumen, ficinc Slfittcr . 5
Pletn ifi untcr ben gfilriien . . 82

INDEX OF FIRST LINES

286

PAGE

Anobe fa§ i も， ^i]itexlnctbt . • 151
Stomm, Q\ehi)en, fomm ！ . • . 137
Aomm mit, o @(^5ne, fomm . 78
Adttige tooQen ba§ @ute, bie • 83

£ange ^ahen bte ®ro§en bcr . 83

fiange 冗 ag， unb 9lfi(^te fhmt) • 42

fial mein ^ug， ben ?lbi(^)ieb . 4

Sa^ 9lcib unb SJli^gunfi ft(^ . 130

£a お regneii/ mm c§ rcflncn ♦ 23

现 a も e 3um ^errfc^er ft^) ber . 81
现 eln aUeg (St^angelium ... 25
3St\6) crgreift, \^ mx% n ゆ t wie 107
9Jhr flfib， e§ feine grD^re ^ein . 130
SRit ber SBelt mu& nicmanb . 163
2Rit 2Bibcrleflen, SSebingeu . . 164
SKufet nii)i t)or bcm ^age . . 136

9la4) SRtttage fa§en »ir . . . 8
9la]^e tvarji bu bem @beln unb 93
9latur unb itm^, jie f(^)eincn . 109
9len)ton l^at jtc^ actrrt ？ 3a. . 93
9h4)t ^elegen^eit ntac^t 2)iebe . 140
9li も t gr5Bern SSorteil tvfi^t' i4) . 132
も tg bom お eroftuali も en . . 161
9lorb unb SBefi unb @iib . . 134
9lur wer bic @el()nfu(!^t fennt . 72

D Ueblt4)e S^^crcfe 9

Oft in tiefen SBintern&c^ten . . 102

©(xg， nur, tok trfigft bu fo • .161
ein Stncib* eln 脑 lein . . 9
i も frii^ auf einer . . . 76
S(^)abe, bag bte %atur nut . . 93
@(^)aff，, ba8 %aq\oexl meiner . 44
©e^)， x6) bic aOScrfe Der SRetfier . 132

PAGE

©clbjl erpnben ifl f も &n; bo(4 • 170
©innrci(^ bifi bu, bie Sprac^ • 93
©0 f^db* lit »tr!Ii(^ b ゆ. ♦ • 79
©0 \)o6i bie 9lafc tdc^t, ba . . 163
©0 »fitj， ol^ne Unterla^ • • 75
60 toax ed f(^on in meinen . . ii7
^p&t crfliitflt, »a さ frft も exllanq 128
S)mt>e W も, Aronod . ... 23

Sage ber SBonne 104

Xaufenb ^licgen &att， x6) am . 130
%eikn lam i(4 nic^t Da§ Ceben 165
%W tiur ba§ 9le(^te in beinen 130
Siefe ©tiCfe l^errfc^t im SBaffer . 87
3;oIIe 3«itett ^ab* i(4 exlebi unb 83

iiber aQen @i ま tn 53

Urn SRitternat^t ging x6), n\i)i . 148
Unb hoi) \)aben jte rec^t, bte 139
Unb ftifc^e 9la1^nmg, neued • • 30

SJieleS も (iJ)， bcrfuiftt ... 81
9Som ！ Bater ]()ab' bte @tatur 165

SQBar bo(^ gefiern bcin ^aupt . 102
9Bfir' ein l^Sugtic^S 2Betb . 83
aSSdr' ni(^t ba§ ^uge fonnenl^aft 162
SBarum gabfl bu unS bie tiefen 39
2Bar 請 i6) roicbcr 3 賺 papier . 118
SBarum mag{l bu geiutffe . . . 132
SBaS bte @ro§en ®ute§ tl)aten . I68
aSSaS l^&r, i4) brau^en わ or bem . 57
SBaS ijt bag ©(^tverfle )7on . . 93
SBad ip f(^tt>er gu bcrbergen ？ . 138
9Ba3 mil mir bad Sc^itffat . . 84
9Ba§ foil nun toom . . . . 153
SBad berlfirat mir bic gcit . . 134
9Bet{ fo Die! gu fogen は at • . 149

286

INDEX OF FIRST LINES.

PAGE

め ein 9]^&b (！ den i め tofinfc^c . 81
SBenn bu も fclbcr ma め fl sum 132
SBenn vS^ auf bcm aRarftc gcV 152
SDenn i も, Uebe fiili, も ni も t . 30
SBenn l^inbeSbtid begieng f も aut. 164
SBer befc^tben ifi, mufe bulben • 133
ffler bent ^ubtifum hieni, tft . 131
Ser in Der 9BeItge|(^t(^te lebt . 160
Set nte fein ©rot mit Sl^rfinen 60
SBer rcitet |o fpfit burc^ 9?a(^t . 54
SaScr fk^ Der 6tn|am(ctt ergiebt . 59
SBer わ ernhntnt micd ？ acd, mem . 44
fficr wirb toon ber SSBeU . . . 139

Ste ba§ ©cflirn 162

aSSie bie 39 ほ ten l^eute bringen . 119
2Bie frucdtbar ifl bcr fleinfie . .164
99Sic &errt ゆ (euc^tet .... 6
Sic ihrf め en unb SBecrcn . . 131
Wit man @clb unb 'S^it . . 81
SBte? SBann? unb ®o? — 3)ic 129

PAGE

SBitt eincr jic^ getoS^nen . . . 163
SBillfl bu め am (Hansen . . 129
aSinfl bu bir abet ba§ 99efte . 130
aBinp bu bir cin め Seben . 133
3&iUft bu immer toetter fc^tDetfen 80
SBittjl bu in§ Unenbtic^e . . .129
SESittfl bu mi も fogtei も Dertaffen 169
aSBir Tcitcn in bie itxeui unb . 128
2Bir jtngen unb fagen t>otn . . 110
9Bo ^Inma^ung mir lool^lgefdQt 131
9Bo man mir ®utS erjeiat . . 141
2Borte, bie ber 5Di(^tcr f priest . 170
9Bo toiUfl bu, florcS お も lein . 100
SBunbem fann e§ tni も nic^t . 83

Sdxi i^etndii, me tReaenbogen . 131
3u ®oe ゆ e き 2)cnfinal toaS . . 166
^tvijd^en Cauatcr unb SafeboiD. 22
も en SBcijcn unb iJom . . 121

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